Blaze would say there are a few plastic cities, the kind you see out there. On the one hand, women can be whoever they choose, while men are more involved in the choreography. Night belongs to girls, happiness is eternal. Men, on the other hand, run their companies and their way of being, in the process of learning to pretend they are just as important, even if they don’t lead an organization, to be part of the presidency or the courts: patriarchy that fits perfectly.
The names of the two places, Barbieland and Los Angeles, are connected by a bridge of communication between the two for some special reason related to a human being and her dolls, bringing about male and female characters as well as male and female characters and way of thinking. Related to each other: as one or the other dominates the lands in question, they seek to bring and carry practices that benefit or, as appropriate, harm them, with all things and men in this complex search for equal and fair coexistence Virtue rides on horseback to demonstrate infallible and untimely conquest.
The conflict begins when the quintessential Barbie doll (Margot Robbie, out of the box) begins to suffer from human flaws: cellulite, bad breath, flat feet, paralyzing shame and thoughts of death, all stemming from Based on the feelings of her owner (now an employee), the company’s president (America Ferrera, determined), she plunges into the world of flesh and blood after taking the advice of a rare hermit doll, unexpectedly Accompanied by Ken (Ryan Gosling), meet the respective humans: they will open your eyes and change the way you look at everyday life, just to stop being a perfect asexual doll or an unsaved Anyone’s lifeguard.
exist Barbie (EU, 2023), Greta Gerwig rises to the challenge of breaking free and making the script work for the script, which Noah Baumbach co-wrote and collaborated with american mistress (2015) and francis ha (2012), her ability to portray women of integrity, fallibility and determination, as she did in little woman (2017) and lady bird (2015), here faced the challenge of presenting it in a mainstream context, whose entry themes seemed complex due to the constraints of large productions and famous toys and their commercial and ideological influence. In all the discussions surrounding it, the account made its politics clear and seemed aware of possible contradictions.
Although at times, the film seems more concerned with reiterating and emphasizing its ideological positions, taking advantage of whoever gives a speech than continuing to develop the plot, it manages to balance and proceed in an elusive and slippery manner. He walks on thin and contradictory floors, with grace: he slides between critiques of consumerism and commercial forces to take any progressive idea and turn it into a sale.
From Kubrick’s devastating prologue to A Space Odyssey (which introduces the narrator Helen Mirren), to those references to the colorful, pastel-toned French film Jacques Demy, and, of course, from There to the Toy Story saga, passages that support ingenuity, such as the critique of the man’s preaching (to explain The Godfather), the Battle of Kens, the sequence of the Homogenous Board of Directors, and of course the small refrigerator sparked by keeping beer Dramatic events while developing ego.
Self-criticism is inevitable, though it’s seen as somewhat premeditated and calculated, especially with regards to Mattel, the creator of the dolls (Rea Perlman, the winner), and the specter of a reunion between creator and creature General passage, and business practices, where it is difficult to recall whether there are women on the board. The ability to laugh at herself instead of taking herself seriously all the time gives her just enough of the camp encouragement a movie of this nature needs without distracting her from her primary focus.
Some characters don’t make the transition in a believable way, like the daughter (Ariana Greenblatt), who goes from scolding the naive Barbie to dressing up as a Barbie and joining in, while others, like Du Ah Lipa and John Cena, they’re underused. In contrast, Michael Cera, Will Ferrell and Kate McKinnon showcased his natural talent for comedy, elusive musical pieces paired with choreographic precision, and Rodrigo Prieto is now Playful eyes capture every detail.