“We Are Pat” (2025): Reclaiming a Controversial 90s Icon
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.

Ryuichi Okagawa, a Japanese writer who worked as a reporter in China has been sick ever since his return home. While in China, Okagawa had met a devoutly religious girl named Jin-hua. Okagawa was born with a predisposition to agonizing recurrent migraines, but found happiness with Jin-hua and married her. Unfortunately, he already had a wife in Japan, and this revelation crushed Jin-hua. When Okagawa returned home, leaving Jin-hua behind, she was forced to work as a prostitute, catching both a severe case of the flu and a rather less socially acceptable condition. Meanwhile, Okagawa's guilt has torn him apart enough for him to return to China in an attempt to bring Jin-hua home with him to get medical attention, but the girl is already too far gone for his help.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
When you don’t factor in the plethora of inferior sequels that have been produced, Luca is one of Pixar’s simplest and most unassuming films in years — and there is absolutely nothing wrong with that. The film thrives on being a visual feast with a warm message for all ages, so much so that its unoriginal storyline doesn’t feel that big of a problem.
A haunting look at grief, survival, and a mother’s quiet collapse in a world that never gave her room to fall.
As one of the women said in the film, friendship in your teens is “as important as any lover” and it’s clear they lived that philosophy throughout their early adult lives as well.
With so many Disney remakes out and about in the world and loosed upon Hollywood cinema, there is one Disney film that truly needs to be seen and witnessed on the big screen: Princess and the Frog.