It was directed by Don Hall and Carlos López Estrada, co-directed by Paul Briggs and John Ripa, and produced by Osnat Shurer and Peter Del Vecho.

The screenplay, which is based on story ideas by Bradley Raymond and Helen Kalafatic, was primarily written by Qui Nguyen and Adele Lim with additional contributions from other writers, including Briggs, Hall, Estrada, Ripa, Dean Wellins, and Kiel Murray.

Raya and the Last Dragon stars the voices of Kelly Marie Tran, Awkwafina, Izaac Wang, Gemma Chan, Daniel Dae Kim, and Benedict Wong.

The film's plot follows the warrior princess Raya as she seeks the fabled last dragon to save her father and the land of Kumandra from evil spirits that are known as Druun.

A power struggle for the gem divides Kumandra's people into five chiefdoms called Fang, Heart, Spine, Talon, and Tail, corresponding to their placement along a gigantic dragon-shaped river.

500 years later, Chief Benja of the Heart tribe retains possession of the gem and trains his young daughter Raya, a warrior princess, to protect it.

[9][15] In October 2018, Deadline Hollywood reported Disney was developing a fantasy animated film that was being produced by Osnat Shurer from a screenplay by Adele Lim, and directed by Paul Briggs and Dean Wellins.

[23] According to Hall, Disney recast the role because Raya was originally conceived as a "stoic loner" but the team began to infuse her with "levity" and "swagger", characteristics similar to those of Guardians of the Galaxy's (2014) Star-Lord.

The production team consulted experts from Southeast Asia Story Trust to ensure an accurate cultural representation in the film,[28] and they emphasized the importance of avoiding stereotypical portrayals of Asian characters.

[29] To conduct background research, the production team traveled to Laos, Vietnam, Cambodia, Thailand, Singapore, Malaysia, Indonesia, and the Philippines; they were inspired by the local sense of acceptance, unity, and trust, which they adopted as themes for the film.

[33] The production team ensured throughout the film, Raya's observed quality would be culturally authentic, functional for her role as a swordswoman, and reflective of her emotional journey.

Her costume is based on a traditional sabai top and dhoti pants with cultural dragon references, and her high-collar cape and large hat act as protective layers the team intended to remove as she emotionally evolves in the film.

The team designed Raya with a feminine nose and strong, prominent cheekbones; they aimed to make her exceptionally expressive and emotionally diverse but mainly focused on her playful, comedic aspects.

[37] The production team drew inspiration from the naga's cultural influence and powerful presence in Southeast Asia, seeking to evoke the feeling of them existing in an invisible world beyond their own.

[40] The production team aimed to make Heart's Pond a magical, sacred place because it represents an important character moment between Raya and her father, incorporating elements of flowers that only bloom at night.

The designers approached Talon as a five-level pier, which they envisioned starting at the top level; as the waterline dropped due to drought, new platforms would be constructed underneath.

[49] The characters' costumes were constructed by folding long pieces of fabric, and the structure of the clothing did not heavily rely on seams; this departs from the traditional method of tailoring, which uses patterns as a guide.

Despite Tail's minimalist landscape, the perspective needed to be very close to capture the desert floor; the manual modeling of cracks and the scattering of rocks and vegetation elements were added complexities.

[53] Anisotropic distances—unequal distances in different directions—in Position-based Dynamics (PBD) and Boids simulation techniques were used to create intricate scenes, including beetles crawling on top of one another, massive schools of fish, and the movements of dragons.

The animators created contrasting camera-and-lighting styles to illustrate trust and distrust, applying them sequence-to-sequence and shot-to-shot based on her story arc.

[56] James Newton Howard composed the score for Raya and the Last Dragon,[57] and Jhené Aiko wrote and performed a song entitled "Lead the Way", which is heard during the end credits.

During her journey, Raya encounters repeated betrayals that reinforce her vigilance and trust problems, although she learns to overcome her past and bravely forgives with much assistance from Sisu.

Tawakkal et al. said Raya's childhood experience symbolizes social problems, including division and conflict arising from prejudice, hatred, greed, and thirst for power, and advocated for the importance of introspection and mutual understanding.

[76][77] Wardah and Kusuma said Raya and the Last Dragon reflects the evolving themes feminism, gender equality, and diverse female empowerment that are prevalent in earlier Disney princess films.

Unlike those films, which romanticize love and emphasize physical beauty, Raya and the Last Dragon portrays a strong, female, warrior protagonist who struggles to reunite her country.

The consensus reads: "Another gorgeously animated, skillfully voiced entry in the Disney canon, Raya and the Last Dragon continues the studio's increased representation while reaffirming that its classic formula is just as reliable as ever".

[99][100] San Francisco Chronicle, among others, said the film expertly balances emotion, humor, and social politics against a backdrop of beautiful animation and engaging storylines.

[c] Rolling Stone and RogerEbert.com praised its blend of imagery and cultural mythologies, finding it beautiful and an emotionally engaging narrative that is reminiscent of classic Disney animated productions.

[105][106] Similarly, Vanity Fair and Vulture said the film expertly conveys the emotional depth and themes of the story through beautiful animation and compelling characters.

[111] The New York Times said the film falls short of the conventional Disney princess narratives in delivering a correct cultural representation and corporate strategy.