The New York International Children’s Film Festival (NYICFF) is an annual cinematic kermesse, founded by Eric Beckman and Emily Shapiro in 1997, with the mission “to support the creation and dissemination of thoughtful, provocative, and intelligent film for children and teens ages 3-18.” During its 2025 edition there is one film in the line-up that celebrates a legendary female artist, transforming her into an aspirational model for young girls: Frida Kahlo.
Hola Frida is an animated film directed by Karine Veězina & Andreě Kadi. The picture retraces the Mexican painter’s childhood as a journey she traversed with resilience, transforming her physical debilitation in an opportunity to follow her true calling.
Frida Kahlo’s paintings often had autobiographical elements, blending realism with fantasy, which is exactly the narrative style chosen by this inspiring animated motion picture. Thus, we witness how a child at the beginning of the 20th century used her imagination to face disability, caused by polio first and by a bus accident later. Kahlo was a bright and promising student who wanted to apply to medical school, to heal her father who suffered from epilepsy. But various twists of fate lead young Frida to fulfill her need to heal the world through her art, that would elevate souls and convey a profound social criticism.
In the film, we observe Frida in her familial habitat, surrounded by the love and guidance of her parents — photographer Guillermo Kahlo and Matilde Calderón y González — her sister Cristina, and their dog Chiquita. Escapism, in her world of dreams and colours, becomes both the balm and weapon to confront hardships.
Hola Frida is a film that celebrates diversity, witnessing how a little girl draws strength from her creative mind in the face of life’s trials. Featuring the voices of Olivia Ruiz, Emma Rodriguez and Rebecca Gonzalez, we are plunged into the polychrome streets of Coyoacán, where Frida’s galvanising force is fully expressed.
Children have the chance to learn about Mexican cultural heritage, such as the “cloud people”, i.e. the Zapotecs. They are the indigenous people of the Mexican state of Oaxaca, who call themselves “Be’ena’ Za.” According to legends, their ancestors emerged from the earth, from caves, or turned into people from trees or jaguars. Their governing elite believed that they descended from supernatural beings who lived among the clouds, and that upon death they would return to the clouds. Another cultural trait that young viewers will apprehend is Mexico’s tradition of exorcising death by celebrating it in life with the Day of the Dead festivities, El Día de Muertos. In Hola Frida, death comes knocking at Frida Kahlo’s door in the form of La Pelona, Mexico’s image of a well-dressed woman, but her time is not up yet.
Diego Rivera, the prominent artist who eventually became Kahlo’s partner during her adulthood, amongst his many works, had made a grotesque representation of death, Sueño de una tarde dominical en la Alameda Central. His large frescoes helped establish the mural movement; Hola Frida cleverly does make a brief mention of this illustrious painter, but very swiftly in order not to steal focus from Frida Kahlo.
Life messages are sprinkled harmoniously throughout the narrative, reminding us that sometimes we need to be patient in life, and that we must accept the sad moments as well as the happy ones. Children spectators acknowledge that life is not always rosy, and it all comes down to how we react to its many facets. Furthermore, the young audience will gain an understanding of gender politics in a fun and constructive way.
Hola Frida, welds escapism with pragmatism in the face of adversity, through a visual and emotional adventure that will touch the hearts of the young and old.
Final Grade: B