The film 'Barbie' is not about the first atomic bomb.

The fact that the two propositions that comprise the ‘Barbenheimer’ phenomenon are so diametrically opposed to one another is, without a doubt, the most entertaining aspect of this phenomenon. When compared to the joyous hue of “Barbie,” the seriousness (and, more importantly, the solemnity) of “Oppenheimer” is in the opposite range. It is precisely for this reason that they are a perfect match for one another: the areas that one does not cover are controlled by the other, and vice versa. If you go watch both of these in the same evening, you will experience the whole range of feelings that a movie can evoke in a short amount of time (well, three hours of Nolan and two hours of Gerwig).

The fact that this is not totally accurate is what surprised me. Here, we have previously experienced both of these things, and we promise that there will be surprises… in each of them. Regarding “Barbie,” it is important to emphasize that viewers who anticipate a more or less acidic satire of the toy industry are going to find a bomb of pop feminism to be more corrosive than it appears to be. This is because, in the case of “Oppenheimer,” we mentioned that even the most obstinate fan of Nolan’s visual power can be overwhelmed by a courtroom movie (with the volume turned up, of course: the most thunderous appearances before investigative commissions in the history of the world).

Visually, both of these flicks are of the highest caliber. Both of these films have a technical team that is incredibly remarkable; yet, it is interesting to note that neither of these pictures has a film that is as juicy on the inside. Although it features a big fanfare of sound and atomic abstraction to emphasize the interludes, Nolan’s picture occasionally follows the traditions of the television biopic. This is despite the fact that it comes with a great deal of detail. This is the first time that Nolan has fallen into certain propagandistic abysses to sell the idea of the conscientious warmonger and of genocide as the lesser evil thanks to his abundant capacity for image. Nolan’s strong point has never been the background of his films, but this is the first time that he has done so.

Greta Gerwig’s previous career is very different from that of Christopher Nolan’s, but the film “Barbie” has a comparable team of visual wizards behind it (photography by Rodrigo Prieto, who has been nominated for an Academy Award three times, production design by Sarah Greenwood, who has won six times, and costumes by Jacqueline Durran, who has won twice). ‘Little Women’ and ‘Lady Bird’ are two films that she has directed that include the same subject matter as ‘Barbie’: women who come to terms with who they are. She is an independent and aggressive director.

Simply put, girls want to be granted fundamental rights.
The first scene of “Barbie” is a satire of the conventional depiction of the Mattel doll, and it does so in a manner that is more graceful than one might have anticipated. From that point on, the movie follows a pattern of a trip of discovery and subsequent return to modify everything. This pattern never deviates from the pre-established patterns of a film in the style of Pixar, for example. On the other hand, it immediately implements powerful depth charges into its discourse from the very beginning.As an illustration, in the humorous voice-over that Helen Mirren provides, Mattel receives the first slap in the face.

face to face: and Barbies live in their own make-believe universe, where they are under the impression that “real” women have been able to achieve any goal they set for themselves as a result of their influence. Due to the fact that, in the end, that is the message that they have consistently sent ever since the 1950s. Or is it not? When Ken (played by the wonderful Ryan Gosling, who is also the best thing in the picture along with Kate McKinnon) arrives in California, he arrives with a frantic realization that he is not quite there. The reality is that patriarchy is the dominant social structure in the world we live in. In addition to this, it is adaptable to a variety of settings.

It is the combination of actual women (such as the young lady who labels Barbie a “fascist” to her face) and plastic dolls that gives rise to the most direct and confrontational messages of the movie, as well as the messages that will definitely provoke the greatest controversy. Even among those who are directly affected by the film, the question of “bimbo feminism” is brought up for discussion. In any event, is it possible for a commercial film, which is a product that is based on an intellectual property property for girls, to have a message that bares its teeth and openly declares war on the ideals of femininity that are prevalent in virtually all commercial cinema?

The discussion is a good one, and it is one that should be had. No one who does not bring it up is Christopher Nolan, and his two female characters in “Oppenheimer,” who solely serve (his words) to show us how irresistibly magnetic their protagonist is. No one else does not bring it up. Despite the fact that “Barbie” is a plastic film that is financed by a major film company and a global toy corporation, with all of the problems that this entails, it is the only one on the billboard that deals with issues that touch the day-to-day lives of its female viewers at the present.

The film ‘Barbie’ is not about the first atomic bomb.

By b0oua

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