Breaking the Cycle: Intergenerational Trauma in Everything Everywhere All at Once and Encanto

       Intergenerational trauma is a concept that explores the passing down of emotional, psychological, and cultural scars from one generation to the next. It can manifest in various forms, from unspoken family secrets to deep-rooted patterns of behavior that continue to affect future generations. In the world of cinema, filmmakers have begun to tackle this difficult subject with sensitivity and insight, using storytelling to shed light on its pervasive impact. The films Encanto (2021) and Everything Everywhere All at Once (2022) explore the impact of intergenerational trauma on individuals and family systems through the exploration of the relationship between Abuela Alma and Mirabel, as well as between Evelyn and Joy, respectively. 

    While these films are vastly different in style and narrative, they both intricately weave the effects of trauma passed down through generations, showing how it shapes family dynamics, individual identities, and the paths toward healing. By delving into these films, we gain a deeper understanding of the emotional legacies that endure through time and how individuals seek to break free from them.

Ecanto

In Encanto (2021), Abuela Alma Madrigal’s trauma stems from a violent displacement which forced her to flee her home with three young children, and resulted in the loss of her husband. Abuela Alma rebuilds her life from nothing and adopts a survival mindset which prioritizes family, unity, and resilience. However, over time, this survival instinct transforms into strict control. Each member of the Madrigal family is expected to contribute to the community through their magical gifts. Mirabel, who has no gift, struggles under the weight of this expectation, and the film carefully illustrates how Abuela’s trauma shaped her perception of worth and value, not only affecting her, but shaping the entire family dynamic. 

Mirabel exists in the shadow of their families’ expectations, where, despite her efforts to contribute, she is constantly reminded of her perceived shortcomings for not meeting her grandmother’s exact demands. Abuela often praises the strength of Mirabel’s sister, Luisa, and the perfection of her cousin, Isabela. However, she treats Mirabel as an afterthought, underscoring how intergenerational trauma can create an environment where love and validation feel conditional–reinforcing the idea that worth is tied to achievement, rather than anything intrinsic.

Ultimately, the Madrigal family’s house, which symbolizes their rigid, trauma-driven structure, literally collapses under the pressure of unspoken expectations. Only when Abuela acknowledges the harmful nature of her obsession with magical gifts does the family begin to heal. By processing her trauma, Abuela recognizes Mirabel’s value, which does not reside in a magical gift, but instead stems from her willingness to confront the truth and ability to remind her family that their value is not tied to what they can offer but to who they are.

Everything, Everywhere, All at Once

Similarly, in Everything Everywhere All at Once (2022), Evelyn Wang is a mother who perpetuates her past. Raised by an overly demanding and critical father, Evelyn internalizes the notion that success is the only path to stability and proceeds to project that notion onto her daughter Joy. Evelyn’s past trauma influences the way she raises Joy, where her frequent criticisms about Joy’s weight, choices, and relationship, make Joy feel as though she will never be enough. 

The film visualizes this conflict through the character of Jobu Tupaki, Joy’s alternate self from another universe, who embodies the nihilism that can arise when expectations feel impossible to meet. The weight of past trauma—both Evelyn’s and Joy’s—creates an emotional distance between them, reinforcing the idea that love must be earned rather than freely given. Everything Everywhere All at Once also uses its multiverse concept to explore the overwhelming nature of this parental pressure. In one reality, Evelyn sees a version of Joy who has become a cosmic force of destruction, while in another, they exist as rocks on an empty planet, stripped of all expectations. These shifting realities reflect Joy’s internal struggle: the more she tries to meet Evelyn’s expectations, the more she loses herself.

The turning point comes when Evelyn, instead of continuing the cycle of criticism, chooses to embrace Joy as she is. In the climactic scene, Evelyn tells Joy, “No matter what, I still want to be here with you”(Everything Everywhere All at Once, 2022).  This moment rejects the belief that love is conditional. By offering Joy the acceptance she never received from her own father, Evelyn disrupts the generational cycle of trauma. The film suggests that while inherited pain can shape a person, it does not have to define them.

Both Encanto and Everything Everywhere All at Once demonstrate the powerful, lasting effects of intergenerational trauma and the profound impact it has on personal and familial identity. In Encanto, the Madrigal family’s magical abilities serve as a metaphor for the expectations, pressures, and unresolved pain that are passed down, while in Everything Everywhere All at Once, the vast multiverse acts as a canvas for exploring the emotional weight of generational struggles. Ultimately, these films remind us that while trauma can persist across generations, there is also potential for healing and breaking free from these cycles. By confronting the trauma of the past, the characters in these films, and by extension, the audiences, are encouraged to embrace vulnerability, compassion, and self-acceptance as pathways to healing and transformation.

If you are struggling to break the cycle of intergenerational trauma, contact us to connect with one of our therapists who can help you start the healing process.