2/20/2024 0 Comments Tell me why berserk]Her toast is burnt, her milk is sour, her shower runs cold. "Do you ever think about dying?" she blurts out during a disco party, still grinning, her brain still processing a new feeling of existential dread.ĭuration 1:47 With Greta Gerwig’s Barbie and Christopher Nolan’s Oppenheimer set to hit theatres on July 21, CBC's Ashley Fraser unpacks why the two films have become a cultural phenomenon spawning memes, T-shirts and double-feature plans. In Gerwig's hands, Barbie (Margot Robbie) is a vision of feminine ideals - with effortless beauty and brains - until her flawless lifestyle in Barbieland is disrupted by physical imperfections and intrusive thoughts. That duality-of-woman premise was perfect fodder for Barbie director and co-writer Greta Gerwig, who typically explores the liminal space that women occupy between adolescence and adulthood ( Lady Bird, Little Women) or young adulthood and the real thing ( Frances Ha and Mistress America, in which she starred and co-wrote with her partner, the filmmaker Noah Baumbach). Barbie is invented a new dawn has arrived. But when they spot a towering Barbie (here subbing the iconic monolith from the classic Kubrick film), the primitive toddlers around her smash their boring, parenthood-simulating baby dolls. She's at once a symbol of feminine aspiration, the careerist everywoman who in 1962 owned a home before most real women could have credit cards - and she is also, as a teenage character in the newly released Barbie movie puts it, "a professional bimbo," "a symbol of sexualized capitalism," "a glorification of rampant consumerism," and "a fascist." Welp!Īs narrator Helen Mirren tells us during the film's opening scene, which playfully mirrors that of 2001: A Space Odyssey, girls have always had dolls. The Barbie doll carries more weight in the cultural consciousness than she can bear on her famously disproportionate frame.
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