Frozen II (2019)


Frozen II (2019)

Having harnessed her ever-growing power after lifting the dreadful curse of the eternal winter in Frozen (2013), the beautiful conjurer of snow and ice, Queen Elsa, now rules the peaceful kingdom of Arendelle, enjoying a happy life with her sister, Princess Anna. However, a melodious voice that only Elsa can hear keeps her awake, inviting her to the mystical enchanted forest that the sisters' father told them about a long time ago. Now, unable to block the thrilling call of the secret siren, Elsa, along with Anna, Kristoff, Olaf, and Sven summons up the courage to follow the voice into the unknown, intent on finding answers in the perpetually misty realm in the woods. More and more, an inexplicable imbalance is hurting not only her kingdom but also the neighboring tribe of Northuldra. Can Queen Elsa put her legendary magical skills to good use to restore peace and stability?
IMDb   6.9 /10
Metacritic   64 %
TheMovieDb    7.3 /10
FilmAffinity   5.8 /10
Director Chris Buck
Director Jennifer Lee
Writer Jennifer Lee
Writer Hans Christian Andersen
Writer Chris Buck
Writer Marc Smith
Writer Kristen Anderson-Lopez
Writer Robert Lopez
Release Date2019-11-20
Runtime1h 43mins
GenreAnimation, Adventure, Comedy, Family, Fantasy, Musical
Content RatingPG (PG)
AwardsNominated for 1 Oscar. Another 18 wins & 88 nominations.
CompanyWalt Disney Animation Studios, Walt Disney Pictures
CountryUSA, Norway
Anna (voice)
Elsa (voice)
Olaf (voice)
Kristoff (voice)
Mattias (voice)
Agnarr (voice)
Yelena (voice)
Ryder (voice)
Honeymaren (voice)
King Runeard (voice)
Pabbie (voice)
Guard / Northuldra Leader / Arendellian Soldier / Duke of Weselton (voice)
Young Anna (voice)
Young Elsa (voice)

Frozen II

Frozen II is a 2019 American computer-animated musical fantasy film produced by Walt Disney Animation Studios, the 58th entry in the Disney Animation canon and the sequel to Frozen (2013). It is directed by Chris Buck and Jennifer Lee, written by Lee, and produced by Peter Del Vecho, and it stars Kristen Bell, Idina Menzel, Josh Gad, and Jonathan Groff. Set three years after the first film, Frozen II follows sisters Anna and Elsa, alongside Kristoff, an iceman, his reindeer Sven, and Olaf, a snowman, as they travel to the mythical Enchanted Forest to unravel the origin of Elsa's magical power. It deals with the themes of ecofeminism, anti-imperialism, anti-colonialism, and female empowerment.

Frozen II was green-lit in March 2015 after an internal company debate over if it would be perceived as an inferior to the original. It used more complex enhanced animation technologies as part of the technological advancements, and was cross-departmentally collaborated. Kristen Anderson-Lopez and Robert Lopez reprised their roles as songwriters, and Christophe Beck returned as composer. It was translated to 46 languages, and was accompanied by a development documentary series, Into the Unknown: Making Frozen II.

Frozen II premiered in Los Angeles on November 7, 2019, and was released in the United States on November 22. The film received generally positive reviews for its craftsmanship, deliveries, and themes, though its narrative and focus drew occasional criticism, while its music divided critics. It earned $1.450 billion worldwide, and became the third highest-grossing film of 2019, the 10th highest-grossing film of all time, and the second highest-grossing animated film of all time during its theatrical run, where the film had the highest all-time worldwide opening for an animated film. Frozen II also received numerous accolades, including two Annie Awards, and was nominated for a BAFTA, two Golden Globes, and two Grammys. At the 92nd Academy Awards, the film was nominated for Best Original Song for "Into the Unknown".


King Agnarr of Arendelle tells a story to his two young daughters, Elsa and Anna, about their grandfather, King Runeard, establishing a treaty with a neighboring tribe of Northuldra by building a dam in their homeland, the Enchanted Forest. However, a fight occurs, resulting in Runeard's death and enraging the forest's classical elemental spirits of Earth, Fire, Water, and Air. The spirits disappear and a wall of mist traps everyone in the Enchanted Forest. Agnarr barely escapes with the help of an unknown savior.

Three years after her coronation, Elsa celebrates autumn in the kingdom with Anna, Olaf the snowman, Kristoff the iceman, and Kristoff's reindeer Sven. One night, Elsa hears a mysterious voice calling out to her. She follows it and unintentionally awakens the elemental spirits, which forces everyone in the kingdom to evacuate. The Rock Troll colony arrives, and Grand Pabbie informs them that Elsa and the others must set things right by discovering the truth about the past. Elsa, Anna, Olaf, Kristoff, and Sven follow the mysterious voice and travel to the Enchanted Forest. After the mist parts at Elsa's touch, the Air spirit appears in the form of a tornado and sweeps everyone in its vortex before Elsa stops it by forming ice sculptures. The sisters discover the sculptures are images from their father's past. They encounter the Northuldra and a troop of Arendellian soldiers who are still in conflict with one another. When the Fire spirit appears, Elsa discovers the spirit to be an agitated magical salamander and calms it down. Elsa and Anna arrange a truce between the soldiers and the Northuldra after discovering that their mother, Queen Iduna, was a Northuldran who had saved Agnarr, an Arendellian. They later learn the existence of a fifth spirit who will unite the people with the magic of nature.

Elsa, Anna, and Olaf continue to head north, leaving Kristoff and Sven behind. They find their parents' wrecked ship and a map with a route to Ahtohallan, a mythical river said to contain all explanations of the past. Elsa sends Anna and Olaf away to safety and continues alone. She encounters and tames the Nøkk, the Water spirit who guards the sea to Ahtohallan. Elsa discovers that the voice calling to her is the memory of young Iduna's call, her powers are a gift from nature because of Iduna's selfless act of saving Agnarr, and Elsa herself is the fifth spirit. Elsa learns that the dam was built as a ruse to reduce the Northuldrans' resources because of Runeard's contempt for the tribe's connection with magic, and his intention to wipe them out and incorporate the region into the kingdom. She also learns that Runeard started the conflict by killing the unarmed Northuldran leader in cold blood. Elsa sends this information to Anna before she becomes frozen (causing Olaf to fade away) when she ventures into the most dangerous part of Ahtohallan.

Anna concludes that the dam must be destroyed for peace to be restored. She finds and awakens the gigantic Earth spirits, Jötunn, and lures them towards the dam. They hurl boulders that destroy the dam, sending a flood down the fjord towards the kingdom. Elsa thaws out and returns to Arendelle, diverting the flood and saving the kingdom. As the mist disappears, Elsa reunites with Anna and revives Olaf, and Anna accepts Kristoff's marriage proposal. Elsa explains that she and Anna are the bridge between the people and the magical spirits. Afterward, Anna becomes the new Queen of Arendelle while Elsa becomes the protector of the Enchanted Forest who regularly visits Arendelle as peace has been restored.

In a post-credits scene, Olaf visits Elsa's ice palace and recounts the events he experienced to Marshmallow, a giant snow monster created by Elsa as palace guard, and Snowgies, miniature snowmen that were inadvertently generated by Elsa on Anna's nineteenth birthday.

Voice cast

  • Kristen Bell as Anna, Princess of Arendelle and Elsa's younger sister who later becomes the Queen of Arendelle after Elsa's abdicationHadley Gannaway and Livvy Stubenrauch as young Anna
  • Hadley Gannaway and Livvy Stubenrauch as young Anna
  • Idina Menzel as Elsa, former Queen of Arendelle and Anna's elder sister who possesses magical ice powersMattea Conforti and Eva Bella as young Elsa
  • Mattea Conforti and Eva Bella as young Elsa
  • Josh Gad as Olaf, a sentient snowman created by Elsa's magic
  • Jonathan Groff as Kristoff, an ice harvester and Anna's boyfriendGroff also provides the voices of Sven, Kristoff's reindeer
  • Groff also provides the voices of Sven, Kristoff's reindeer

Frozen II also features Martha Plimpton as Northuldra chief Yelena, and Sterling K. Brown as Arendelle commander Mattias. Jason Ritter voices tribe member Ryder, and Rachel Matthews appears as Honeymaren, Ryder's sister who sought peace to the Enchanted Forest. Evan Rachel Wood portrays Iduna, Elsa and Anna's mother, and Delaney Rose Stein stars as young Iduna. Alfred Molina plays Agnarr, Elsa and Anna's father, and the husband of Iduna, and Jackson Stein appears as young Agnarr. Jeremy Sisto, Ciarán Hinds, and Aurora are assign three different characters: Sisto as Runeard, King Agnarr's father and Elsa and Anna's grandfather; Hinds as Rock Troll head Pabbie; and Aurora as The Voice, a call inside Elsa from the memories of Young Iduna. Alan Tudyk provides the voices of a guard, another Northuldran chief, and an Arendellian soldier. Paul Briggs reprised his role in the post-credits scene as Marshmallow, a giant snow monster created by Elsa.



In March 2014, when being asked about Frozen's future, producer Peter Del Vecho said that Chris Buck, Jennifer Lee, and he collaborate well together, and he believed that they would be developing another Frozen-related project, though he did not know what it might be. That April, Walt Disney Studios chairman Alan F. Horn said that a sequel was not being considered because the studio was prioritized on the development of a Broadway musical of the same name. In May, during an interview with David Faber on CNBC, Disney CEO Bob Iger revealed that the company would not commission a sequel because it would risk creating something less fascinating than the first film. Iger also hoped that the Frozen franchise "is something that is kind of forever for the company", similar to The Lion King.

In June 2014, Lee confirmed that Walt Disney Studios chief creative officer John Lasseter had expressly granted her and Buck the freedom to explore whatever they were interested about. While working on the short film Frozen Fever (2015), they realized how much they missed the characters. Meanwhile, Del Vecho had been accepting speech engagements around the world, where fans asked him questions regarding Frozen's future. In November 2014, Lee, Buck, and Del Vecho discussed the possibility of a sequel. Buck later explained: "The one thing that we did right away was to figure out what would be satisfying for Anna and Elsa at the end of the movie." They decided on the ending that they spent the next five years trying to earn: Anna would become the queen of Arendelle and Elsa would be "free".


At the Walt Disney Animation Studio, as with Pixar, when we do a sequel, it is because the filmmakers who created the original have created an idea that is so good that it's worthy of these characters. We enjoyed making Frozen Fever so much and being back in that world with those characters, and we love the characters in this world so much of Arendelle, that Jennifer Lee and Chris Buck have come up with a great idea for a sequel and you will be hearing a lot.

—John Lasseter announcing Frozen II

On March 12, 2015, at Disney's annual meeting of shareholders in San Francisco, Iger, Lasseter, and actor Josh Gad officially announced that a full-length sequel, Frozen II, was in development at Disney, with Buck and Lee returning as directors and Del Vecho as producer.

To do background research, the production team traveled to Norway, Finland, and Iceland. From the Scandinavia research trip, the production team concluded that Elsa is a "mythic hero" who possesses magical ice powers, while Anna is a "fairytale hero" who lives in a world with magic but does not have magical powers herself. They also inferred that the first film was succeeded by how it combined these two sets of elements. In August 2018, Allison Schroeder was hired to assist Lee with the script after Lee succeeded Lasseter as Disney Animation's chief creative officer; Lee was credited as screenwriter, while Schroeder was attributed with additional screenplay material.

Voice recording began in September 2017, though Menzel started a couple weeks later due to her concert tour. That same month, Gad announced his role in the sequel with Buck, Lee, Del Vecho, and Lasseter. In July 2018, Variety reported that Wood and Brown had entered talks to join the cast. Their roles was then undisclosed, but was later revealed to be Iduna, mother of Elsa and Anna, and Lieutenant Destin Mattias. Wood was chosen for her role because her voice was similar to Menzel and Bell's. The role of Agnarr, father of Elsa and Anna, was switched from Maurice LaMarche to Molina. The Voice's 4-note call is derived from the Latin sequence Dies irae, but is delivered in a manner inspired by the Scandinavian music form kulning.

The film's first completed scenes were shown at the Annecy International Animated Film Festival in June 2019, where Becky Bresee and head of effects animation Marlon West said the film was "still in production, with seven weeks of animation to be completed and 10 weeks of special effects". Throughout the film's production, filmmakers collaborated with Sámi experts on the depiction of the fictional Northuldra tribe, which results to the establishment of an advisory group named Verdett. This collaboration was the result of an agreement between The Walt Disney Company, the transnational Saami Council, and the Sámi parliaments of Finland, Norway, and Sweden. While some fans campaigned for Elsa to receive a female love interest in the film, Anderson-Lopez confirmed that Elsa would have no love interest in the film. Lee later explained to The New York Times reporter Maureen Dowd that it seemed Elsa was not ready for a relationship, based on results from a Myers-Briggs test. During a press conference for the film, Lee had determined that the film would not acquire elements from the television series Once Upon a Time's unofficial expanded Frozen storyline.

"No, that’s not canon. We didn’t see it. So I kinda made a point of certain things not to see so it wouldn’t affect us that way. Frozen I and Frozen II to me are one complete story and that’s really where we stay. So glad they had fun with that. I think they had a lot of fun with the characters."— Director and writer Jennifer Lee denying the canonicity of Once Upon a Time's Frozen materials.

Frozen II underwent significant revisions after its first test screening in San Diego. Disney Animation discovered that adults liked the film, but children found it hard to follow. The production team realized they needed to clarify the identity of The Voice as well as the point of Elsa's transformation, add more comedy, and add more shots of Bruni, the fire salamander. There was a scene full of expository dialogue in which the lead characters explained to the people trapped in the Enchanted Forest why they had come there, which was replaced with Olaf's humorous recap of the first film. Due to these extensive changes, the animators needed to create 61 new shots and redo another 35, while an undisclosed number of shots were cut from the finished film. For example, approximately a dozen animators and artists had labored for two months on a far more elaborate resurrection scene for Olaf before it was cut.

The last major animation sequence completed before the production team locked the picture was "Show Yourself", the musical number in which Elsa enters Ahtohallan and learns the secrets she had been seeking. Del Vecho said the sequence "required all of the resources at the studio" to get the film done on time. Robert Lopez said that the first draft of "Show Yourself" was very different from the final version. Harding's documentary captured the difficult process of Del Vecho and Lopez determining The Voice's identity. Once the production team settled on Queen Iduna, lyrics of "Show Yourself" began to pieced together, but the artists, designers, and animators needed to quickly figure out how to stage the dramatic culmination of Elsa's journey towards becoming the Snow Queen.


The film was produced by a team of approximately 800 people, 80 of whom were animators. Tony Smeed and Bresee served as the film's heads of animation. Hyun-Min Lee served as animation supervisor for Anna, while Wayne Unten reprised his role from the first film as animation supervisor for Elsa. Steve Golberg headed as the main animation supervisor. Compared to its predecessor, Frozen II made uses of numerous advancements in the fields of technology, artistic performance, and rigging. Before animation began, Unten showed various scenes of superheroes like Frozone to the animators working on Elsa as examples of what not to emulate. Creating the flurry effect was so difficult for the animators that the directors decided Elsa would have perfected a permafrost coating for Olaf by the second film. Elsa's movements in the sequel were modeled after her graceful movements in the first film and the cultural modern dance, particularly Martha Graham's work.

To comply with Disney's preference over a different style for each of their film, and the directors and production designer's artistic methodology, the animation team, which comprises multiple collaborative departments, were instructed to reconstruct the characters with similarly but a bit different in tone, and style. This mean that they would appear slightly different in "very subtle ways," with a "through line from the first movie to the second." The process can be compared to the mathematical topology, of how a geometrical property was preserved under continuous deformation. In addition to the procedural vegetations encompassing the Enchanted Forest, the effects team applied two internally developed workflows, Vegetation Asset and Fire Tree, to further enhance the overall effectiveness in vegetation and fire simulations. The cinematographic lighting and effects was approached as representations to the three key elements, glacial ice, the magic of the Spirits, and the concept of memory while during animation.

The first step for the animation team was to immerse the screenplay, and having them to explore moreover understanding of the characters' personalities. The process "Blocking" followed afterward in which the characters were framed in a "golden pose," meaning to convey the essential tentpole concepts for directorial understanding. Animation development entered pre-production after basic preparations such as effects, layout were ready. It then passed to shot-production or simply just production for where supervision was placed to ensure that work was properly functioning. Effects were pre-proposed to the layout stages ahead of the animation process to choreograph the dam collapse sequences and also ro create the practical characteristic reactions to the destruction. The animation team also enhanced the ILM workflow integration for further development conveniences. Whereas the greatest difficulty for Frozen was the winter snow, Frozen II differed dramatically because it is set in another season, fall. The grand challenge for the film, was rather, the flow of wind, of how each animators were to remain on the same course of style and to "pass that downstream."

The film drew references from several other Disney films in terms of their animation software, for example, Anna's hair was based on a program named Quicksilver that was specially developed for Moana (2016), which aim for a more realistic hair reaction to intensity, and natural forces like wind. Despite this, Elsa still retained an excessive amounts of hairs that would be too tedious to animate manually, as a result they also relied on another software that operates more hair simulation with faster speed, Beast. In the costume upgrade, the animation team had to ensured that associated color fit the character, as they if "felt they went too warm with the color choices, something would feel". A professional vocal coach was hired to instruct the animators the movement of breathing, because it was an essential aspect for all musical films.

The animation process was notably rough to create the Germanic water spirits Nøkk, and it took approximately eight months to complete. The animation team aimed to give the Nøkk a more stable appearance than the ocean depicted in Moana. It embodied a liquid-like appearance that the effects team rendered with Erin Ramos's supervision. They were supplied with unspecified tools to construct its comet-like invisible rig, and old key-framing technologies for its strong and stormy characteristics. To create the wind spirit Gale, a new tool called Swoop was developed. During the process, the animators were multitasked with real-time feedback from the supervisors, directors, and the producer. The gigantic Earth spirits had a long rigging process for the characters to move without " solid rock penetrating solid rock", though they still had the objective of generating "rocks that would fall out of the joints as they moved", though they had to be careful to avoid making the rocks distracting. The water simulation was intended to be more realistic than in Moana, but some of them have been so realistic that they felt inconsistent and so were made more stylistic to fit within the movie's animation style.


Costume and character designs underwent many revisions and re-sketches before they settled on the final draft. According to designer Griselda Sastrawinata-Lemay, the process was historically the most intricate of any animated films. Technological advancements evolved from the past years allowed the designer to include more details in the outfit such as the extra bead and the sequins. They used a G.I. tailoring program called Marvelous Designer to precisely drape the clothing on each character. While designing, they had three notes to keep in mind: the first was that the setting was changed to fall from winter, the second was it the characters being three years older, and third was their objective to commission "epicness."

Anna's outfit was inspired from the Norwegian folk bunad wore in the 1840s-1850s. It typically comprised wool, and decorative embroidery and silhouettes. Anna's pigtail brai, despite that it was depicted within the first film, was turn down by the filmmakers because they felt she was still too young to have this. As suggested by Lee, half of her hair was pulled down and was replaced with a crown braid that runs across the back of her head. The designer team prioritized on aging Elsa, drawing inspirations from artists Alexander McQueen and Elie Saab. Her designs incorporated long trains and floor length hemlines that provided cumbersome. The designers created tailored coat paired paired with a double paneled cape to reduce her floor-length hemline and still preserved her characteristics. They used the paired-over shoulders which were intended political epaulettes to highlight her strength.

The animation team approached the intricate embroidery textures from a curve-based method to construct the complex embracements. The program developed took 2D visual designs as line strokes representations, and then converted them into renderable curves. The curves deforms along with the costumes when being flatten on the surfaces. These technique allowed quick iterations while keeping down a significant portions of manual work during design modifications. It also supported free-form stitching from threads of various widths, colors, and opacities, which was crucial for production of such wide varieties of embroidery styles.


Lopez and Kristen Anderson-Lopez returned from the first film to write songs for the sequel, while Christophe Beck returned as composer. The full album was released on November 15, 2019, following disseminate publication of Panic! at the Disco's edition of the single "Into the Unknown". It consisted of seven songs along with a remix of "Reindeer(s) Are Better Than People" from the original Frozen.

Beck noted that the score conveys Elsa's and Anna's emotional growth; he described the impacts as "matured and introduces more sophisticated musical concepts and thematic elements". He also wanted it to reflect the film's complex and intense imagery. Anderson-Lopez described the album's theme as "meta-story", mainly because of the unclarity ahead of how each of the songs would interact in the final version. Harding also dispatched a camera crew to the Lopezes in Brooklyn to document their songwriting and composing process, but the composers found that having operators watch them disrupted their creativity, and they completed most of the work off-camera.


Disney released the first teaser trailer for Frozen II on February 13, 2019. It was viewed 116.4 million times in the first 24 hours, and became the second most-viewed animated film trailer in that time period, surpassing Incredibles 2 (2018). Upon the reveal of the teaser poster, American astrophysicist Neil deGrasse Tyson raised an issue that "water crystals have hexagonal 'six-fold' symmetry" shown correctly in the previous film, but that the poster showed a snowflake with four instead. In a reply, Lee said that it was not really a snowflake; the film explained that the four edges represented the four elemental spirits, while its center represented Elsa, the fifth spirit.

Disney partnered with 140 brands worldwide to promote Frozen II, the highest number ever for any Disney animated film. In the U.S. market, Disney heavily marketed the film through a variety of internal and external partners such as Enterprise Rent-A-Car, McDonald's, and Lego. To support the film's marketing campaign, the lead cast members made numerous public and televised appearances. Notable highlights included "Friendsgiving" stunt night in ABC, customized introductions and special looks in The Masked Singer, and the Women of Impact showing in Nat Geo Wild. In November 2019, the lead cast members' schedules were so full with appearances that in Bell's words, "time not there".

The box office success was attributed to the release date nearing Thanksgiving, which benefited from the holiday's harmonic atmosphere. The skating into extending weekends within the holiday had gradually resulted a long-term playability, which, according to Comscore analyst Paul Dergarabedian, was "perfectly positioned to play well into 2020."


Theatrical and localisation

The global premiere of Frozen II took place on November 7, 2019, at the Dolby Theatre in Los Angeles. It was originally scheduled to be released on November 27, but the release was changed to five days earlier to November 22, 2019. On January 17, 2020, a sing-along version was released. It was localized through Disney Character Voices International into 46 languages by its original theater release, while Frozen was translated to 41 languages. After the success of the first film's localized versions led to the release of a complete set album featuring all the official versions of "Let It Go", a special Northern Sami dubbing was released for Frozen II titled Jikŋon 2 in honor of their contributions.

Home media

Walt Disney Studios Home Entertainment released Frozen II through digital download on February 11, 2020, and on Blu-ray and DVD on February 25. The Blu-ray bonus features include a sing-along audio recording of the film, an Easter-based short hosted by Olaf, and a presentation of the spiritual inspirational mythologies of Scandinavian and Nordic which the enchanted forest is based upon. In addition, it also incorporated a musical scores behind-the-scenes review, kid-friendly activities and contests, musical clips, 29 international translated counterparts of the song "Into the Unknown", and deleted music and scenes.

The film was initially scheduled to be released on Disney+ on June 26, 2020, but it was moved forward three months earlier to March 15, in the United States, and March 17, in Canada, the Netherlands, Australia, and New Zealand due to the COVID-19 pandemic.

Documentary series

Megan Harding, who had previously directed a 2014 making-of ABC television special about Frozen, reached out to Disney Animation about whether she could document the production of Frozen II; the company agreed. Harding traveled regularly from her base in New York City to Burbank, California, and shot 1,300 hours of footage over 115 days from December 2018 to the November 2019 world premiere while working with Lincoln Square Productions. Regrading its over-length, Harding edited out the 1,300 hours of footage down to six episodes that were approximately 35 to 45 minutes long. Disney Animation provided full cooperation knowing she intended to take a "fearless" and "honest look" at its filmmaking process; Her crew was asked to leave the room only once, when the production team wanted to decide the mysterious voice's identity. The companion documentary series was officially announced by Disney to be released on the streaming service Disney+ in June 2020, which entitled Into the Unknown: Making Frozen II.


Box office

Frozen II earned $477.4 million in the United States and Canada and $972.7 million in other territories for a worldwide total of $1.450 billion, making it the third highest-grossing film of 2019, the 10th highest-grossing film of all time, and the second highest-grossing animated film of all time. On December 15, 2019, Frozen II passed the $1 billion mark at the worldwide box office. Deadline Hollywood calculated the net profit of the film to be $599 million, accounting for production budgets, marketing, talent participations, and other costs, with box office grosses, and ancillary revenues from home media, placing it second on their list of 2019's "Most Valuable Blockbusters". According to Disney (who did not consіder the 2019 The Lion King remake to be an anіmated fіlm but rather a live-action reboot), Frozen II is the hіghest-grossing anіmated fіlm, surpassing the first Frozen.

Frozen II was released alongside A Beautiful Day in the Neighborhood and 21 Bridges on November 22, 2019, in 4,440 theaters. 2,500 of them are released in 3D, 400 in IMAX, with 800 in premium large format, and 235 in D-Box/4D, it made $41.8 million on its first day, including $8.5 million from Thursday night previews. It went on to debut with $130 million, the highest opening for an animated film in the month. Its second weekend saw the box office drop by 34% to $85.6 million (with a record of $125 million over the five-day Thanksgiving weekend), and Frozen II grossed another $34.7 million the following weekend. By December 29, the film topped $400 million domestically. Frozen II completed its theatrical run in the United States and Canada on March 19, 2020, as the film industry was significantly affected by the COVID-19 pandemic.

Worldwide, Frozen II made $228.2 million in its opening weekend in 37 markets, for a global debut total of $358.5 million, the highest for an animated title, surpassing the 2019 The Lion King remake. It had the best opening of all-time for an animated picture in the United Kingdom ($17.8 million) and France ($13.4 million); the biggest start for a Pixar or Disney Animation title in China ($53 million), Japan ($18.2 million), Germany ($14.9 million), and Spain ($5.8 million); and the third-biggest industry opening of any film in South Korea ($31.5 million). It took $11.4 million in the second week in the United Kingdom, bringing its total gross there to $35.3 million. By January 5, 2020, the film's offshore gross exceeded $875.3 million. As of July 2021, its top international markets were China ($125.3 million), Japan ($122.3 million), South Korea ($96.3 million), United Kingdom ($69.8 million), Germany ($60.6 million), and France ($54 million).

Critical response

On the review aggregator website Rotten Tomatoes, Frozen II holds an approval rating of 78% based on 334 professional reviews, with an average rating of 6.7/10. Its critical consensus reads, "Frozen II can't quite recapture the showstopping feel of its predecessor, but it remains a dazzling adventure into the unknown." Metacritic, which uses a weighted average, assigned Frozen II a score of 64 out of 100 based on 47 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the average grade of "A–" (lower than the previous film's A+) on an A+ to F scale, while PostTrak compiled a 4.5 out of 5-star rating from those on the film's opening day.

Frozen II continues in the same nonthreatening, emancipatory vein, jumping to life when Elsa responds to the siren’s call. As before, the songs by Kristen Anderson-Lopez and Robert Lopez are pleasantly melodious with lyrics that can have the quality of a confession, as if a friend were sharing her inner-voice struggles.

Manohla Dargis, The New York Times

Critical reviews were moderately positive in the media who praised its craftsmanship, deliveries, and themes. The music divided journalists. The New York Times critic Manohla Dargis assessed the narrative as a "pink world of adventure and aspirational uplift," whereas Nell Minow in illustrated its compelling pieces of issues which is delivered in a frank manner that is insightful for both children and sometimes even adults. Dargis identified a relatively engaging visual imageries that were balanced out by a mixture of serious historical reconciliations and romances. Similarly, Mindow contrasted it as an autumnal palette packed with the corresponding passions and engagements. Peter Travers (Rolling Stone), Simran Hans (The Guardian), and Todd McCarthy (The Hollywood Reporter) all gave high praises. Travers, who was personally pleased getting reconnecting with the characters, regraded the animation as stunningly gorgeous and that the music was like "tantalizing earworms." Hans, who agreed with Travers on the music's "earworm" deliveries, compared the narrative to the real-world climate change of how the sisters was trying to revise the damage committed by previous generations. Collectively, McCarthy summarized the attributes to the "catchy songs", "easy-too-like characters", "astonishing backdrops", with humor and an adventurous plot driven by "female empowerment galores".

The narrative, music, and focus were sources of criticism. In The Wall Street Journal, John Anderson noted that general sequel typically did not flow from innovations; he cited the film's flawed narrative and low-quality music as opposed to its predecessor. Agreeably in an Empire review, the narrative was as emphasize by Ben Travis as an over-reliance on mythical expansions where driven by an overwhelming amounts of backstories that were unclear and hazy. Minow, on the other hand, panned the excessively-detailed narrative, whereas Observer writer Oliver Jones argued that all the energies and originalities which were improperly centralized into one direction to the sisters' dynamic moments. Others medias including the Los Angeles Times and The Washington Post also cited the complicated story and its darker tone.


AwardDate of ceremonyCategoryRecipientsResultRef(s)
Academy AwardsFebruary 9, 2020Best Original SongKristen Anderson-Lopez and Robert Lopez for "Into the Unknown"Nominated
Art Directors Guild AwardsFebruary 1, 2020Excellence in Production Design for an Animated FilmMichael GiaimoNominated
Alliance of Women Film Journalists AwardsJanuary 10, 2020Best Animated FeatureFrozen IINominated
Best Animated FemaleKristen BellNominated
Idina MenzelNominated
American Cinema EditorsJanuary 17, 2020Best Edited Animated Feature FilmJeff DraheimNominated
Annie AwardsJanuary 25, 2020Best Animated FeaturePeter Del VechoNominated
Outstanding Achievement for Animated Effects in an Animated ProductionBenjamin Fiske, Alex Moaveni, Jesse Erickson, Dimitre Berberov, and Kee Nam SuongWon
Outstanding Achievement for Character Animation in an Animated Feature ProductionAndrew FordNominated
Outstanding Achievement for Character Design in an Animated Feature ProductionBill SchwabNominated
Outstanding Achievement for Directing in an Animated Feature ProductionJennifer Lee and Chris BuckNominated
Outstanding Achievement for Music in an Animated Feature ProductionChristophe Beck (score), Frode Fjellheim, Kristen Anderson-Lopez, and Robert Lopez (songs)Nominated
Outstanding Achievement for Voice Acting in an Animated Feature ProductionJosh GadWon
Outstanding Achievement for Writing in an Animated Feature ProductionJennifer LeeNominated
Billboard Music AwardsOctober 14, 2020Top SoundtrackFrozen IIWon
British Academy Film AwardsFebruary 2, 2020Best Animated FilmChris Buck, Jennifer Lee, and Peter Del VechoNominated
Casting Society of AmericaJanuary 30, 2020AnimationJamie Sparer Roberts and Sarah Raoufpur (Associate)Nominated
Critics' Choice Movie AwardsJanuary 12, 2020Best Animated FeatureFrozen IINominated
Best SongKristen Anderson-Lopez and Robert Lopez for "Into the Unknown"Nominated
Golden Globe AwardsJanuary 5, 2020Best Animated Feature FilmFrozen IINominated
Best Original Song – Motion PictureKristen Anderson-Lopez and Robert Lopez for "Into the Unknown"Nominated
Grammy AwardsMarch 14, 2021Best Compilation Soundtrack for Visual MediaFrozen II – Various ArtistsNominated
Best Song Written for Visual MediaKristen Anderson-Lopez and Robert Lopez for "Into the Unknown"Nominated
NAACP Image AwardsFebruary 22, 2020Outstanding Character Voice-Over PerformanceSterling K. BrownNominated
Producers Guild of America AwardsJanuary 18, 2020Outstanding Producer of Animated Theatrical Motion PicturesFrozen IINominated
The ReFrame StampFebruary 26, 20202019 Top 100-Grossing Narrative Feature RecipientsFrozen IIWon
Satellite AwardsDecember 19, 2019Best Original SongKristen Anderson-Lopez and Robert Lopez for "Into the Unknown"Nominated
Saturn AwardsOctober 26, 2021Best Animated FilmFrozen IINominated
Visual Effects Society AwardsJanuary 29, 2020Outstanding Visual Effects in an Animated FeatureSteve Goldberg, Peter Del Vecho, Mark Hammel, and Michael GiaimoNominated
Outstanding Animated Character in an Animated FeatureSvetla Radivoeva, Marc Bryant, Richard E. Lehmann, and Cameron Black for "The Water Nøkk"Nominated
Outstanding Created Environment in an Animated FeatureSamy Segura, Jay V. Jackson, Justin Cram, and Scott Townsend for "Giants' Gorge"Nominated
Outstanding Effects Simulations in an Animated FeatureErin V. Ramos, Scott Townsend, Thomas Wickes, and Rattanin SirinaruemarnWon

Thematic analysis

The indigenous Sámi culture was historically associated with reindeers as its holistic unit and was throughout portrayed as mythical, and so the depiction of these creatures symbolizes both the tribe's strength and representation. Trude Fonneland believes that the highlights of female divinity religiously biased female contributions. Its themes included unity, courage, hopes, friendships, and truth acceptance. Elsa attempted to had Anna stayed away because she was concerned with her sister's safety, manners of this was identified as "fraught sibling dynamics" and "sister-power bonding moments", respectively, by media The Arizona Republic and Chicago Sun-Times.

In animation, the process of female character personality represents an embodiment of female images as a whole, interpreted overtimes. The female image intended in the film pursued emotional diversification, with a similar degree characteristics personality accompanied by the awakening of female rights and status. Thematically, it served as a social manifestation. Elsa act as elegant and noble always hoping to be magically-free and for a normal life, whereas Anna was engagingly dreamy and cheerful enthusiasm. They personified differently but had the same internal sympathy response to protect their kingdom when danger came.

Frozen II's narrative has been analyzed as a critique of colonialism and the promotion of reparations. Long before they were born, Elsa's and Anna's grandfather, King Runeard, built the Northuldra tribe a dam, ostensibly as a gift but in reality a means of sabotaging the tribe and weakening their magical power. Runeard's plot fails after he murders the tribal leader and a battle breaks out. The forest spirits that preside over the Northuldra homestead shroud the area in an impenetrable mist preventing anyone from leaving or entering. The Northuldra were modeled on the Sámi people indigenous to Scandinavia and north-western Russia, who were often discriminated against because of stereotypes that depicted them as heathen pagan idol worshippers who were skilled in magic and demonic sorcery. In 1609, King Christian IV of Denmark wrote that the Sámi were apt at magic and therefore no mercy was to be given in cases involving Sámi sorcery. This persecution was exemplified by Nordic missionaries who collected or destroyed Sámi's religiously important items and locations and built churches to supplant the native beliefs.

The Northuldra dam mirrors a real-life issue for the Sámi in which a hydroelectric dam was installed on the Altaelva river between 1979 and 1981, flooding a Sámi village and disrupting their traditional hunting and herding grounds. Though directly influenced by Sámi history, Inkoo Kang argued that being an American film the Northuldra can be equally interpreted as representing displaced Native Americans, with Arendelle representing the United States own colonial past. Kang wrote that their mother's story is similar to the glamorized, but contested story of Pocahontas. The Northuldra are presented in a globally appealing way for mass appeal over directly imitating the Sámi romanticizing them as a people in harmony with the spiritual and environmental worlds with access to great magical power.

While Elsa attempts to find out who was calling to her, Anna takes it upon herself to destroy the dam to make amends with the Northuldra for Arendelle's mistakes with awareness that it would destroy Arendelle. It is only a last-minute intervention by Elsa that prevents the destruction of the kingdom, but Anna commits her act while believing Elsa is dead. Kang believed this promotes destroying modern institutions to atone for past atrocities. Matt Goldberg wrote that the symbolism of the film's ending is undercut by having Elsa save Arendelle despite its history when it could depict them rebuilding their kingdom elsewhere.

The issue of Elsa and Anna arriving as affluent caucasian saviors to a minority group is sidestepped by the reveal that they are both half Northuldran through their mother, who is depicted as a heroine who saved their father King Agnarr from death during the battle. As such, they are making reparations for one of their ancestors to their other ancestors. The first film had some controversy because of its all-white cast. Frozen II addresses this by adding more multicultural characters such as the black Arendelle commander trapped in the forest for decades. Even so, this character is negatively portrayed by being complicit in the battle with the Northuldra, even if he was unaware of the King's plot.

Assessing the film from an "eco-spirituality" point, Jennifer Baldwin described Frozen II as a message about trauma, transformation, and faith communities taking a more active role in environmental repair. Trauma is caused by the deceptive gift of the dam to deliberately weaken the elemental spirits. Olaf describes the forest as a place of transformation, and this comes from adventuring into the unknown, befriending the spirits and indigenous Northuldra, and confronting the trauma. Elsa gains the trust of the spirits, each leading her closer to the truth and her own transformation into one of the elementals, and Anna employs the trolls, a symbol of earth, to break the dam—the symbol of trauma and distrust—and gain her own strength independent of her relationship with Elsa. Baldwin argues this shows the audience to find more sustainable practices, make amends, and work together to preserve the natural world. It plays strongly on thematic ecocritical impacts in real-life climate change, which arguably acted as a basic introduction for young children.

Elsa's peculiar affection with the mythological horse Nøkk rather than the classical humanity romance had driven out two corresponding potential controversies. The first was that she can obtain more social authority as part the femanity movement but while still does not necessarily threaten men's ascendancy because that was done in a different set of mediums on non-human creature. Secondly, she can be placed into equestrianism representations, a sport where femininity is nevertheless devalued. These aspects exemplified symbolisms and representations to not only the movement but also the attitude as well. Tia Aprilianti Putri interpreted that it based gender-role conception which one's action was their own individual characteristics, not the entire gender-race that associated with them. For instance, femininity was depicted both as heros and villans, like any genders, and so thematically their characteristics cannot be universally interpreted. Nia Kurniawati suggested that the femininity representations be moreover civilized with the most recent feminist movements to reflect a more modernly realistic audience understanding.


Works cited

  • Jiang, QianQian; Hun Chung, Jean (2021). "Analysis of the female character and modeling design features of 'Frozen II'" (PDF). Journal of Digital Convergence. 19 (6): 3. doi:10.14400/JDC.2021.19.6.309. ISSN 2713-6442. Archived (PDF) from the original on September 4, 2021. Retrieved September 11, 2021.
  • Baldwin, Jennifer (2020). "Trauma, Eco‐spirituality, and Transformation in Frozen 2: Guides for the Church and Climate Change". Dialog: A Journal of Theology. Hoboken, New Jersey: Wiley-Blackwell. 59 (2): 60–61. doi:10.1111/dial.12546.
  • Fonneland, Trude (2020). "Religion-Making in the Disney Feature Film, Frozen II: Indigenous Religion and Dynamics of Agency". Religions. Tromsø, Norway: University of Tromsø. 11 (9): 430. doi:10.3390/rel11090430.
  • Dundes, Lauren (2020). "Elsa as Horse Whisperer in Disney's Frozen 2: Opportunity "Nokk"s to Quash Gender Stereotypes". Social Sciences. Westminster, Maryland: McDaniel College. 86 (9): 11. doi:10.3390/socsci9050086.
  • Moses, Joseph Norman; Gaddipati, Vijoy; Fiske, Benjamin; Tollec, Marie; Miller, Tad (August 17, 2020). "Frozen II: Effects Vegetation Pipeline". Siggraph'20: Acm Siggraph 2020 Talks. 7: 2. doi:10.1145/3388767.3409320 – via ACM Digital Library.
  • Sathe, Amol; Summers, Lance; Yuan-Chiang, Matt Jen; Newland, James (August 17, 2020). "The Look and Lighting of "Show Yourself" in "Frozen II"". Siggraph '20: Acm Siggraph 2020 Talks. 71: 2. doi:10.1145/3388767.3407388 – via ACM Digital Library.
  • Liu, Ying; Wright, Jared; Alvarado, Alexander (August 17, 2020). "Making Beautiful Embroidery for "Frozen II"". Siggraph '20: Acm Siggraph 2020 Talks. 73: 2. doi:10.1145/3388767.3407360 – via ACM Digital Library.
  • Tollec, Marie; Jenkins, Sean; Summers, Lance; Cunningham-Scott, Charles (August 17, 2020). "Deconstructing Destruction: Making and breaking of "Frozen II"'s Dam". Siggraph '20: Acm Siggraph 2020 Talks. 24: 2. doi:10.1145/3388767.3407333 – via ACM Digital Library.
  • Putri, Tia Aprilianti (April 2021). "Viewing Female Depiction in Frozen II". Journal of Language and Literature. Surabaya, Indonesia: University of Airlangga. 15: 2. eISSN 2460-853X. ISSN 1858-0165.
  • Kurniawati, Nia (2020). "Representation of feminism in the main characters of the films "Maleficent Mistress of Evil" and "Frozen II"". Hortatory: Journal of Indonesian Language and Literature Education (in Indonesian). Cianjur, Indonesia: University of Suryakancana. 4: 2. doi:10.30998/jh.v4i2.532.
  • Midkiff, Emily; Austin, Sara (2021). "The Disneyfication of Climate Crisis: Negotiating Responsibility and Climate Action in Frozen, Moana, and Frozen II". The Lion and the Unicorn. 45: 2.
  • Kittelsen, Theodor; Østby, Leif (1975). Theodor Kittelsen. Dreyer. ISBN 978-8-20901-226-0.

Further reading

  • "2015 Meeting of Shareholders" (PDF). The Walt Disney Company. March 12, 2015. Archived from the original (Transcript) on May 13, 2015.
  • Wilkins, Jonathan (2019). Frozen II: The Official Movie Special. Titan Publishing Group. ISBN 978-1-78773-227-8.
  • March, Julia (2019). Disney Frozen II: The Magical Guide. Dorling Kindersley Limited. ISBN 978-0-241-35767-5.
  • Julius, Jessica (2019). The Art of Frozen II. Chronicle Books. ISBN 978-1-4521-6949-1.
  • Blaze, David (2019). Disney Frozen II: The Junior Novelization. Random House Children's Books. ISBN 978-0-7364-4030-1.

External links

  • Media from Wikimedia Commons
  • Quotations from Wikiquote
  • Data from Wikidata
  • Official website
  • Frozen II on Disney+
  • Frozen II at IMDb
  • Frozen II at AllMovie