Barbie 2023: A Kenundrum of Gender, Capitalism, and Coming-of-Age Revelations

‘Barbie,’ at its core, delves into the intricate dynamics of gender identity and societal expectations, particularly through its’ central characters- Barbie and Ken. The film grapples with the notion that masculinity, unlike femininity, is often defined in negation, a constant proving of oneself to society, other men, and women. The plot beautifully weaves a narrative where Ken’s struggle to cover up his perceived lack and Barbie’s journey toward self-realization serve as metaphors for broader societal challenges.

The film subtly addresses feminist ideals but, as anticipated by many, falls prey to the constraints of capitalistic demands that inevitably come along with working with a prominent piece of commercial property owned by a major corporation. This particular sentiment was a concern expressed by both director Greta Gerwig, known for critically lauded films like ‘Ladybird’ (2017) and ‘Little Women’ (2019), and actress/producer Margot Robbie who said “we had to be upfront… we wanted to honour the brand but not shy away from the problematic parts…otherwise, its not a movie we’re interested in making.” While ‘Barbie’ attempts to gesture towards feminist concepts, the film’s need for broad appeal arguably dilutes its potential impact, as it can’t seem to fully articulate a version of feminism that is truly threatening to both patriarchy and capitalism.

Despite this, part of the film’s success is its ability to provide the audience with a sufficient understanding of feminism’s multifaceted nature without being overly theoretical or heavy handed. Therefore, it may be beneficial that ‘Barbie’ isn’t some indie movie assuming a pretentious pseudo-philosophical stance, but is itself a piece of commercial property that critiques ideology from within. Nonetheless, Gerwig maintains her indie sensibility, enabling the film to transcend being merely pro-Mattel propaganda and succeeding as an aesthetic work.

On an especially positive note, framing ‘Barbie’ as a coming-of-age story injects fresh life into the narrative. Barbie’s journey from stereotypical representations to self-realization mirrors a rite of passage into womanhood. Ken, too, grapples with identity initially tied to shallow ideals, reflecting the challenges boys face in defining their path to manhood in a world where embodying healthy forms of masculinity seems increasingly difficult. Amidst this exploration, Barbie attempts to seek answers from Mattel, only to discover that corporations can’t provide the meaningful answers she seeks (shocker)—a revelation that feels particularly pertinent for modern viewers.

Another notable aspect of the film is Jacqueline Durran’s phenomenal costume design; the characters’ style transformation reflecting their internal growth. Initially, Barbie is always dressing for an event, a task. And Ken dresses in relation to Barbie. If it’s Malibu barbie, he’s Malibu Ken. But as the movie progresses, Ken sees ways of dressing in the real world that accord with him and the version of himself, he aspires to be (even if this version isn’t truly his ultimate ideal- it seldom is when you’re growing up). Meanwhile, Barbie’s outfits become less tied to a specific function and more human, signifying a move towards self-acceptance, detached from stereotypical representations.

Through Ryan Gosling’s superb performance, Ken emerges as a compelling character, sympathetic and comical even at his worst. The film’s representation of patriarchy is potent, emphasizing the absence of a governmental structure in the Ken world as a commentary on the intangible yet pervasive nature of patriarchal ideals as well as ideas’ ability to structure social reality. In its reflection of societal norms, ‘Barbie’ raises questions about the pursuit of equality, mirroring real-world scenarios where women may be represented up to a point, yet it still feels as though true equality remains elusive. The ending, mirroring the unresolved state of societal issues, prompts contemplation on the gap between ideals and reality. Barbie’s evolution into a true subject, marked by her possession of a reproductive organ, is a poignant symbol of liberation. The film cleverly subverts the objectification of Barbie by presenting her reproductive organ not as a fetishized ideal but as a brute marker of her newfound subjectivity.

Arguably, ‘Barbie’s’ greatest triumph has little to do with the film itself and everything to do with its marketing campaign, which effectively convinced various different groups that the movie was targeted at them — from adult women to young girls. However, after watching the trailer, it seems odd to me that any parent would conclude the film was explicitly targeting children, although Kubrick’s ‘2001: A Space Odyssey’ is famously every 9-year-old girl’s favourite film.

Moreover, the cultural phenomenon that was ‘Barbenheimer,’ pertaining to the simultaneous release of ‘Barbie’ and Christopher Nolan’s ‘Oppenheimer,’ achieved high levels of monocultural saturation at a time where cultural fragmentation has never been higher. This instance of counterprogramming played on the bizarre contrast between the fantastical, comedic, light-hearted nature of ‘Barbie,’ and Oppenheimer as an intense, biographical thriller, to great success. Barbie’s marketing, like the film itself, leaned heavily into traditionally feminine aesthetics, and its success points to the dearth of movies specifically targeted at female audiences- a lack which Oppenheimer’s contrasting marketing only accentuates. Cinema has long favoured male-centric narratives, and in turn, has underestimated the commercial viability of stories centring on women. It’s not merely about creating films with prominent female characters but crafting narratives that depart from stereotypes and offer nuanced views of the women depicted (arguably a failure of Oppenheimer, but that’s a topic for a different review).  

In conclusion, ‘Barbie,’ while not without its flaws, successfully engages with complex gender dynamics and societal expectations. Its narrative depth, coupled with nuanced character development and striking visuals, provides a thought-provoking and thoroughly enjoyable experience.

(4 / 5)

Dir: Kristoffer Borgil. Certificate 15, 102 mins

I’ve always loved to hear what other people’s dreams are. Most might retreat from the idea, yet you can learn a lot from their weird symbolism. But…what if. Imagine this. One man keeps appearing in a lot of people’s dream? You’re gobsmacked.

In keeping with Nicholas Cage’s delightful and whacky recent film choices, Dream Scenario harks back to his more subtle days. He plays Prof. Paul Matthews an expect on ant behaviour. Out of the blue, he begins to appear in dreams of the people around him, family, friends, even his students. What starts off as local celebrity and good natured fun, quickly turns sinister, as the dreams see him enage in acts of violence and sexual abuse. He is swiftly cancelled and the scraps of fame are eaten up, as everything falls apart around him. 

Cage is perfect here. He takes on the serious pedagogue extremely well, not arrogant, more awkward and set in his ways. It is a royal offering. His wife, Janet is a angular Julianne Nicholson,  who does passive aggressiveness masterfully, many moments stood out. Child actors as their children’s fair well: Molly and Sophie from Dylan Gelula and Lily Bird perform the delight, then digest over the whole experience. Michael Cera who is back on top form as Trent, typical word salad spewing, new-age PR sort. Even Cosuin Greg from Succession, Nicholas Braun gets a cameo as Brian Berg, smug inventor of a dream device not to dissimilar from an idea seen in Futurama.

It was fun, you go along with the journey like Cage. The inevitability of the story could only end in cancel culture, as things often do today. Some stylised editing is of note, aggressive flashes and jumps are seen throughout. The dream sequences themselves are noteworthy, for their vividness and surrealness. There is something to say about how things are today. There is even more to say about representation and ownership, amongst other meaty themes. It ended in an odd way, though not to its detriment. We don’t quite know just how Paul got out of this pickle and the final scene is a play on his wifes quirky sexual fantasy.

See it and go dream some more…

(4 / 5)

Dir: Joanna Hogg. Certificate 12a, 96mins.

I took it in my stride that I had the ending of this film spoiled by ladies who had seen an earlier screening. Turns out The Eternal Daughter was secretly filmed during lockdown, another A24 flutter, they seem to be getting bigger and bigger.

Tilda Swinton is Julie Hart and her mother Rosalind, who arrive to an estate in North Wales, the former seeking script ideas, the latter to remember past trips to the place. As their holiday goes by, things are not what it seems for anyone involved, the hotel filled with mystery and secrets. Julie struggles with writer’s block during her stay and her mother recounts several deeply sad stories of her previous time there. Julie finds herself recording many conversations, desperate for ideas.

Hogg has honoured the tradition of the classic gothic, ghost story and has kept a lot of its trappings in the big, gloomy estate. It is more atmosphere, less spooks, with green lights, branchs scraping upon windows and eerie late night scuffling. The decent score features a flute heavy air, later revelled as a diagetic sound, related to a minor character in the film. The use of Bartók is effective, recounting The Shining in the chill factor. The beautiful spaniel in the film easily upstaged Tilda in either role, often crying and spread across the fine furnishings. Carly-Sophia Davies, who also introduced the film, plays a fed up receptionist, getting great bouts of attitude problems.

Some strange continuity errors appear baked into the film, Julie and Rosalind will be in their beds in one scene, only to be seen the next shot in the bed of the other. This, I can only assume ties into the reveal at the end. This film was spoilt for me, and I dont want to give it away. Knowing this plot twist made me focus more on aspects of The Eternal Daughter I wouldn’t have done, if not knowing. Aside from the strange continuity, you don’t pick up much in what the twist might be.

Having said this, I throughly enjoyed it’s humour, character development and brief run time.

The Eternal Daughter is out now on limited release. 

(2 / 5)

Anatomy of a Fall, Dir: Justine Triet. Certificate 15, 152mins

After much buzz at winning the Palme d’Or, Justine Triet and her Alpine whodunnit could just be an Oscar contender for next year. I’m still thinking of last year’s winner: The Triangle of Sadness  and it’s safe to say I much prefer that oddity over this.

Out of the few cinema encounters I’ve had his year, The Anatomy of a Fall is my least favourite. There are several things I struggled with. Our lead character Sandra, and her son Daniel are grieving the loss of husband and father, Samuel. This fall in question is from their chalet, as pounding steel drum RnB is heard throughout, Sandra unable to continue with an interview recording at the same time. She becomes suspect number one and the entirety of the film is her striving for innocence, aside the doubts and experiments of her blind son Daniel. We along with the law, discover the fraught relationship between Sandra and Samuel, the latter having contributed to the blinding of their son. Can Sandra come away from the accusations? Or is she or Daniel involved in something more sinister?

The performances fair well, Sandra Hüller as Sandra is highly appealing, stoic in many moments, impassioned in others. This is a highly convincing role. Milo Machado Graner as Daniel, impressing as a child performer with acting chops I think any child aspiring in the industry would envy. Sandra’s defendant is Swann Arlaud as Vincent, an elegant and subtle role. Samuel Theis as Samuel (I am wondering why some actors are playing their namesake in character), is seen through flashbacks, though mostly through his voice memos. One blazing scene between the couple, later played in court goes into their furious deterioration and I’d say, is the best scene in the film.

It was a bit on the long side in length. My major gripe is some strange camera ideas and supporting actors not quite fitting the roles within the court. I’m no expert, but the way some of proceedings for the trail were executed had some odd, fast and loose qualities. Being mostly in French, the film takes some typical swipes at the English language, Sandra being German spoke it with French partner Samuel as it was easier for her. The court insist she speak French, even though a translator is present. Bizarrely, Jehnny Beth as Marge, is Daniel’s guardian issued by the court, has a near identical haircut to him. The flippant remark about Sandra being being bisexual,  might have led into an interesting fling with Marge. This was not explored. I just cannot get over the ludicrous dramatic zoom in upon the judges face, right after the fight recording is played. Something which really brought me out if the film.

We never really find out what exactly happened to Samuel, there was talk of suicide, Sandra getting off scot free, even with the frayed relationship with her son. If I am spending this much time in a film, I do insist on at least some form of closure.

Anatomy of a Fall is out now on limited release.