The opening sequence in BARBIE, with the reference to Kubrick’s 2001 opening, is not just about smashing the baby doll in favor of the adult doll Barbie, it’s about smashing film bro cinema in favor of cinema for women and girls.
— Anna Biller (@missannabiller) July 25, 2023
Anna Biller, director of The Love Witch, has been tweeting a lot about Barbie lately (she seemingly consulted on one of the early treatments for the film), and she’s calling out how Hollywood is profiting off pro-feminist messaging while actively avoiding women’s stories behind the scenes.
Is this just a ploy by Mattel to sell dolls and movie tickets, or will the powers that be now be supporting and financing more movies for a female audience? [Anna clarified: “What I mean is, will it make a difference to filmmakers like me, or is it only reserved for GG or other women directing large budget films targeted to existing IP geared towards a female consumer”]
The marketing, conflating indie auteur films with a hyper-corporate product, makes me a bit queasy, but I suppose this is what they were going for: the message that women’s cinema is as serious as film bro cinema.
I suppose the queasiness also lies in my experience pitching to executives the last few years, when I quickly learned that terms like “feminist” and “women’s cinema” soured every meeting, even with women, so I learned not to use them.
It was right after MeToo so I wrongly thought people would be interested in women’ s stories. It turns out that was just for PR reasons. I still don’t pitch feminism in my materials.
In my memory, the press (guided by the studio) only trots out the word feminist to stem backlash. I first noticed it when it was used for every male director who included violent scenes a few years ago. The directors when asked about feminism seemed startled.
And for Barbie, the main concern, and the reason it took so many years to get it off the ground, was that the studio was terrified of feminist backlash, because of the fraught image of the doll.
corrykennedy
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