#feminist film review

[filmfanaticfables1990]

The Substance (2024): A Grotesque Exploration Of Ageism And Sexism In Hollywood

In the realm of horror cinema, few films manage to strike a balance between grotesque entertainment and profound social commentary. The Substance (2024), directed by Coralie Fargeat, is one such film that boldly ventures into this territory. Starring Demi Moore and Margaret Qualley, the movie is a feminist body-horror masterpiece that delves into the harsh realities of ageism and sexism in Hollywood.

At its core, The Substance is a story about an aging actress, portrayed by Moore, who grapples with the industry's relentless obsession with youth and beauty. The film's visual maximalism, while at times overwhelming, serves as a powerful metaphor for the suffocating pressures faced by women in the entertainment industry. The grotesque and unhinged scenes, filled with blood and gore, are not merely for shock value but are symbolic of the visceral struggle for autonomy and respect.

One of the most striking aspects of the film is its unflinching portrayal of the physical and emotional toll of ageism. Moore's character is not just fighting against the external forces of the industry but also battling her own internalized insecurities and fears. This dual struggle is depicted with a raw intensity that is both heartbreaking and empowering. The film's biting social commentary resonates deeply, shedding light on the often overlooked issue of ageism in Hollywood.

Margaret Qualley's performance as a younger actress navigating the same treacherous waters adds another layer of complexity to the narrative. Her character's journey highlights the cyclical nature of sexism and the ways in which the industry pits women against each other. The dynamic between Moore and Qualley's characters is a poignant exploration of solidarity and rivalry, making the film's message even more compelling.

The Substance is not for the faint-hearted. Its grotesque and blood-soaked scenes are brilliantly disgusting and deranged, making it a polarizing yet unforgettable experience. The film's gore-filled, bonkers finale will leave audiences either running screaming or wildly entertained. However, beneath the surface of its shocking visuals lies a thought-provoking critique of the industry's systemic issues.

In conclusion, The Substance (2024) is a cathartically fun and extreme feminist body-horror film that should be shown in movie theaters all over. It is a daring and memorable exploration of ageism and sexism in Hollywood, brought to life by stellar performances and a unique visual style. For those who appreciate horror with a message, The Substance is a must-watch.

[poppletonink]

10 Things I Hate About You Review

★★★★★ - 5 stars

"But mostly I hate the way I don't hate you. Not even close, not even a little bit, not even at all."

Katarina Stratford does not conform to everyone else's ideas of teenage normalcy: she doesn't wear things based on what's trendy, she likes indie rock music and feminist novels and most importantly, Katarina Stratford does not want to date. On the other hand, her sister, Bianca does want to date. After their father decides that Bianca can only date when Kat does, a boy named Cameron (who has a crush on Bianca) comes up with a plan to pay someone to date Kat.

I love the characters in this film so very much. Kat is a feminist icon who I've idolised ever since I first watched this masterpiece. Bianca annoyed me at first but the whole punching Joey in the face thing was very cathartic for me, so she increased her placement in my favourite character ranks. Patrick Verona is amazing, and all of the Kats in the world know that not falling for him is a very trying task. Cameron, on the other hand, is the complete opposite of Patrick and yet he's extremely sweet and endearing - a hopeless romantic at heart (and a definite James Potter variant for sure).

It is safe to say that generally speaking feminism and rom-coms do not go hand-in-hand skipping down a flowery hill (what with most rom-coms being Chick Flicks, a controversial genre in the eyes of feminists everywhere). However, 10 Things I Hate About You manages to meld together these two assumedly opposing topics into an amazing masterpiece. It discusses a horrible idea formulated within society - that idea being that a woman cannot be in a relationship with a man, whilst retaining her status as a feminist. The irony of it is that feminism is about equality and yet we put this boundary between men and women, both of whom can be classified as feminists, and say 'No, you cannot date and wish for equal rights.' That's what is so wonderful about 10 Things I Hate About You: Kat Stratford is a feminist icon in her own right (what with her love of Sylvia Plath and riot grrrl bands, and her blatant "Well I suppose being male and an asshole makes you worthy of our time" comment) and yet she is also the star of a rom-com. She's a feminist who simultaneously "gets the guy".

Aside from the amazing characters and the amazing feminist representation of 10 Things, one of the best things about it is its music. Music plays such a big part in 10 Things, from it playing to represent the character's emotions to Kat wanting to start a band. The soundtrack overall is amazing, with riot-grrrl bands galore and Joan Jett as the queen of rock 'n' roll. Without a doubt my favourite musical moment of 10 Things is Heath Ledger singing "Can't Take My Eyes Off You"- it's one of the most romantic moments and an important part of Kat and Patrick's journey.

In case it could not be gathered from my prior statements, this modern, feminist adaptation of Shakespeare's Taming Of The Shrew is one of my favourite films of all time - on par with the likes of Dead Poet's Society and Clueless. It's wonderfully witty, romantic and heartwarming, and furiously feminist all in one - and if that does not convince you to watch it, then I don't really know what will.

[domesticangel]

telling people they lack reading/media comprehension used to actually mean something and now it’s just something people say when they actually mean “u criticized something I like so I’m gonna play superiority complex and say u ackshually 🤓☝🏻just didn’t like it bc u didn’t Get It and aren’t as smart as me☝🏻☝🏻☝🏻”

[absolutebl]

BL & Critical Analysis

Pop culture critique & a how to do it... or something

This meaty question came from the lovely @huachengeye Thank you!

Codicil: I do not get paid for pop culture critique (although I once wrote book reviews professionally, long story). So I’m entirely a dilettante. 

The Question!

Q1: Can you can shed some light on your process (of critical analysis)

This is a little like training your eye to edit a document (I bet you can tell that's not one my strong points). Or training your mind to look at data and data collection in terms of the results it may yield and what the initial survey says about the questioner's bias (or can bias results).

First, I have to ask... 

Do you really want to train your eye to critique?

Because it will become a lot harder to immerse yourself in a piece of media if you constantly feel obligated to step back mentally and think about it from various perspectives. 

In other words, you may enjoy BL, or all live action dramas, LESS if you try to think about them critically.

I have an intimate who is a pretty well known writer. She mostly writes humorous fiction. She's open about the fact that this means every time she laughs, she stops and thinks about why that happened and whether is could be used in her prose. She never gets to be fully absorbed by narrative ever anymore because her critical eye is always turned on, especially for the written word.

What you may sacrifice for critique, is a certain level of childish wonder. 

I’m not sure i would necessarily advise doing this. 

My Process 

My process is essentially now visible in this blog. As I watch a show I take a few notes on it (which show up in the weeklies) and then at the end I go through those notes, consolidate, try to be witty about it, and write up a review.

The review usually has something about:

characters, tropes, plot 

narrative & story structure & pace

how this BL fits in with the greater BL genre & history

any thoughts I have on the quality of the production, acting, and/or directing 

my own personal feelings about the show

Thus my reviews tend to take into account several criteria.

For #1-2 I have a background in lit crit as an undergrad (and, like I said, I did once review books for a living) so these are kinda ingrained in me. I’m working on seeing the influence of soap operas, fan fic, and non-western story structures as critically valid, so these are the things I’m actively learning more about the most these days. 

For #3: How does this fit into the history of BL? Since I’ve made it point to watch pretty much all BLs, I feel like I’m set up to think and talk about this. AKA the spreadsheet made me do it. But since I also have anthropology in my academic history, I’m very interested in how a BL represents for its country’s BL oeuvre. I try to judge KBLs against other KBLs (and Kdramas) and look for patterns and trends in how that country’s interpretation of what it “means to be BL” shift over time. 

For #4: my IRL job is tangential to the entertainment industry so that’s accidentally trained my eye for film. I don’t know that I like this part about myself, but it’s happened whether I like it or not. And I don’t have a proper background in film critique. 

Final #5: will discuss further in a bit.

Suggestion? Establish A Rating System 

Come up with your own personal 10 star (or 5 star) rating system.

Write it down. Don’t be afraid to modify or adjust it. It’s yours, your tastes change, nothing is set in stone. 

Pick one ideal example BL for each category that you’re very familiar with for your reference point. Then you can ask yourself, after you’ve watched a new one, whether you liked it more, less, or about the same as that show. (relative rating, similar to grading on a curve) 

I change my examples regularly as my taste changes and as new BLs are added. The bar gets shifted, so to speak. 

My Rating System 

Your reasoning for rating a BL will be different from mine, but here’s mine as an example. 

(Also I never feel bound by this, sometimes I give a show a 8/10 just because it feels like that’s what it deserves.) 

10/10 - HIGHLY RECOMMENDED - my favorite precious squee!, faithful to tropes, happy ending, good chemistry, few flaws, high rewatch potential, makes me happy, examples: Semantic Error, Until We Meet Again 

9/10 ABSOLUTELY RECOMMENDED - loved it and good rewatch potential but probably a few pacing issues or one big flaw, still made me feel good/comforted, examples: Cherry Magic, Bad Buddy

8/10 - RECOMMENDED - some concerns around tropes (like dub con) or story structure/filming but still satisfies as BL, moved me emotionally, rewatchable in parts or not rewatchable but important, examples: Love By Chance, Between Us

7/10 - RECOMMENDED WITH RESERVATIONS - i.e. isn’t quite BL, convoluted, not strictly HEA, too short/long, and/or chemistry issues, may have impact on other BL fans but not me (or on me but not others) examples: Make it Right, KinnPorsche

6/10 - WORTH WATCHING BUT FLAWED - probably around the ending or in narrative structure/cohesion or censorship, disappointed expectations, unlikely to rewatch, examples: My Gear and Your Gown, Love Mechanics

5/10 - WATCH IF YOU HAVE NOTHING BETTER TO DO - but don’t expect much, it’s a total hot mess interesting only because it's BL and I'm probubly pretty conflicted about it, examples: Advance Bravely, Even Sun

4/10 - FATALLY FLAWED - but still basically BL, however... do we want to support this kind of behaviour? examples: Precise Shot, Work from Heart

3/10 - I DON'T KNOW WHAT I AM WATCHING AND NEITHER DOES IT, just seriously why did this get made? examples: Blue of Winter, Physical Therapy 

2/10 - IT'S DEPRESSING - they killed/tortured/etc the gay, save yourself, examples: The Effect, HIStory 3: Make Our Days Count

1/10 - IT'S AWFUL, I WATCHED IT SO YOU DON'T HAVE TO, has all the flaws of 4-3 plus something even more egregious, personally triggering, example: My Bromance series, Round Trip to Love

dnf - self explanatory, but usually I drop because I feel like the narrative is already a #3 and/or headed for a #2 or #1 and then I’m told later that is went there, example: My Tempo

I hand out the fewest 1s & 10s. The most 8s and 7s. Everything else is pretty much on the bell curve you’d expect. 

Q2: What resources do you use to build your reviews?

I listen to a lot of pop culture review critiques in podcast form, often about stuff I'd never watch. But I like the way professionals talk about these things, even if they aren't MY things or don't jive with my personal opinions.

Mark Kermode is my favorite film critic and we like the opposite stuff, but the way he talks about film is very interesting to me. His podcast mini series on the "business of film" is probably one of my must listens. For his main podcast (Kermode & May’s Take), I always skip over all the interviews, people talking about their own films bore me to death (especially if they are actors on the promo junket, save me please). His rants are some of my favorites of all time (try Pirates 3 or Iron Man 2). Someone else’s list. 

I also like Pop Culture Happy Hour from NPR because it brings in multiple perspectives and varied cast of critics who often disagree and the "things making me happy" is a grab bag of fun.

The Bechdel Cast is a feminist critique podcast from Hollywood insiders and they do recaps as well as critique, and it's always fascinating to me to hear what people latch onto in a narrative. However, I only listen if I am already familiar with the film they are discussing.

My background is in anthropology and I've lived all over the world so that helps train me to think in terms on culture's impact on narrative as well as linguistics and so forth. As a personality I’m also quite reserved and deadpan, grumpy, stiff, strict, and kinda cold. I think I gravitate to being an observer and an outsider which helps if you want to analysis stuff. Which is not a claim to objectivity, I don't think there can be objective analysis of pop culture.

But it does make me pause to think, "that made me FEEEL something" why? What am I feeling? How did the actor do that? The script? The direction?

These shows are meant to entertain, whether they are successful or not, for me (and what "successful entertainment" means to me) and how they are doing it is the first question I always ask myself.

Q3: What are the things you look out for when watching a BL?

I ask myself a lot of things I would when looking at any piece of art. Or even when shopping for clothing or a new car or reading a book.

Did I like it? Why did I like it?

Did it move me? Why did it move me? 

Did I react? How did I react? To which bits? Why? 

What tropes and narrative beats was it using to manipulate me and my expectations? Did it meet those expectations? The promises it set up at the start? Did it fulfill the watcher-contract during the course of the narrative? 

Did the filming successfully telegraphy the journey I was meant to take? Did the actors? 

But also... would I rewatch it? Am I tempted to do so the moment it ends? For which bits?

The statistician in me wants to point out that these questions say a lot more about me and my relationship to art than it does about the art itself.

For example

Did I like it? Means... I'm motivated by pure taste and personal preference and complete subjectivity. This is in part formed by a person's background, life state, whole experience with culture and pop culture and society, family, friends. Taste is also just "that" bit. You know, that bit? Likes lemon deserts over chocolate ones, gravities to spicy food, favorite color is green, decorates with potted plants. Just my taste is my taste. I like what I like. 

Yes I have some criteria that subconsciously come into play: I look for clever story structure, subversion or manipulation of tropes, parody, not hitting any of my dislikes (like dub con). But also I have other biases impacting whether I like it (like physical appearance) which I can try to check but usually can't fix. (For example GMMTV's Gawin/Fluke looks so much like an ex of mine I really struggle with his screen presence.)

Did I like it?

The fact that this is the first question I ask myself also should tell you I'm motivated by the emotion these narratives engender. I want them to transport me and move me. I my case I want to feel comforted and satisfied and happy. The ones the make me feel discomfort, especially for too long in the narrative, I am simply going to like less. Sometimes less than I feel like I should (see my struggles with masterworks like ITSAY, YNEH, or The 8th Sense). The very BLs that most professional critics would tout as the best examples of the genre for a wider audience often turn out to be the ones I struggle with the most. (They are also, fortunately for me, the least representative of the bulk of the genre.)

In other words there is ALSO a part of me that genuinely likes and enjoys the trashy stuff. Even the trash I trash watch.

So I would advise you to come up with your own questions. Ask yourself what you want from these shows when you watch them. 

What motivates you? 

Why are you watching them at all? 

What brings you joy from an art or entertainment experience? 

What do you want them to do for you? To you?

You are going to experience them (and therefore analyze them) from this perspective whether you like it or not. So understand yourself is paramount. It's about your relationship to the art, not the art itself.

If I were to give you an assignment I would say start with one BL you really enjoyed, perhaps not your favorite but one level down. And then do one you really did not enjoy. And think about why... 

Happy analyzing! 

(source)

[thenarddogmeister]

Poor Things. Yorgos Lanthimos. 2023

WOW. Poor Things was great. I was too tired to write a more formal review so I have compiled a collection of thoughts - mostly what I loved about the film.

Firstly, I loved the diverse and nuanced representations of all genders in this film. The film obviously explores themes surrounding feminist theories such as the ethics of sex work or the toxic masculine urge to own women and instead of falling into the trap of having really two dimensional characters, we see a diverse group of characters and ideas. For example, we see Mark Ruffalo's misogynistic character in a constant attempt to own and control Bella Baxter but we also see Harry, who engages in intelligent conversation with Bella and encourages her freedom inspiring travel. Speaking of the idea surrounding men trying to own women, we can use the diverse character selection to demonstrate how Lanthimos presents us with three-dimensional and well thought out themes and ideas. Willem Dafoe's character, who pays a macabre paternal figure to Bella, also tries to control and trap Bella. Sure, he does it to protect her but it still entraps the maturing and individual woman. This complex male representation (by having two men do the same thing but with different motives) reflects the world more authentically as many fathers try and control their daughters under the guise of protection but ultimately it just perpetuates the unfortunate truth, which is that women have limited power and autonomy in the world.

This same complexity can be seen when analysing Ruffalo's character even further. He is the cause of a lot of the comedic chimes throughout the film, which can be very entertaining to watch but expertly, Lanthimos is careful to also express the danger these men can pose. Duncan (Ruffalo) can be seen as entertaining but Lanthimos ensures to capture his aggression towards Bella and the danger that it poses (she is eventually kidnapped by him in a creepy and frustrating sequence). Moreover, this theme is developed later with the introduction of Alfie, who we see as extremely domineering and scary whilst he too kidnaps Bella at gunpoint in a tense and unnerving sequence.

I also loved the choice to create such a surrealist environment. From the ultra-wide camera lenses to the dreamy set designs, it all felt so surreal. I think (as a woman) this reflects a woman's experience in an interesting yet identifiable way. Navigating the world as a woman growing up can be very confusing especially as the mass amount of societal pressures and rituals that women are subjected to begin to weigh down upon you without any explanation why. Suddenly men are catcalling you, boys are talking over you in class and you feel super uncomfortable and guilty when wearing shorts around men but you don't understand why. Being a woman can feel uncomfortable and scary in this world but thanks to Lanthimos' sensitivity when exploring these ideas, he makes sure to also represent how positive it can be to be a woman. He does this by making his sets, albeit surreal, extremely beautiful. I immediately think of the candy-floss esque pastel colours in the sky as Bella stands on the roof in Lisbon or the enchanting song we hear as Bella explores this new country, which is made extra significant as the camera slowly pushes in to Bella's subtly awe-struck face in a shot, reverse shot sequence between her and the musician. The musician was a local woman, which supports Lanthimos' reoccurring theme in the film of solidarity between woman and how enriching that can be.

Now, I know a criticism of the film is the explicitness of Bella's sex life despite not knowing her mental age. Whilst I understand these criticisms, I think it is implied that she has matured enough to engage in sex as her speech develops to an adult-ish level and she discusses in a blunt and intelligent way (a staple of Lanthimos' filmography) the reasoning behind her choices, even if it is the simple desire for sex. Also, I think this ambiguity could add to the film's interest in exploring women's debates. The age of consent is something that is greatly debated and different all around the world. Many recognise that it is used as a legality to absolve older men of any legal trouble when engaging in sexual activity with younger women. Moreover, maturity and a readiness for sex cannot be quantified by a certain age as all women are different and it circles back to this idea of men controlling women and deciding what is right for them. By keeping Bella's exact age a mystery, we are forced to contemplate the age of consent and how we should treat women who decide they want to have sex.

I loved this film for its themes, performances, score, aesthetics and more so I would absolutely re-watch it (and plan to in the near future) as well as recommend it to everyone.

[digitalkaijustudios]

New Gorilla Whale Bonus Episode!

This Barbie is a 50 foot tall kaiju created by space radiation!

New Gorilla Whale Bonus Episode for Titan level Ko-Fi Supporters! Join Kevin and Kayla as they discuss Attack of the 50 Foot Woman (1958).

Visit the Ko-Fi to check out the full episode!

KO-FI: https://ko-fi.com/digitalkaijustudios

This is a clip from Bonus Episode 3 of Gorilla Whale: A Godzilla Watch-Along, Podcast by Digital Kaiju Studios. This podcast is available to all Titan level subscribers on our Ko-Fi. This podcast is hosted and produced by Kevin Carpenter and Kayla Knutson. Art by Ashlee Hart. New main episodes every other Friday! 

[movieoftheweek]

𝕎𝕠𝕣𝕜𝕚𝕟𝕘 𝔾𝕚𝕣𝕝𝕤 (𝟙𝟡𝟠𝟞) 𝕕𝕚𝕣. 𝕓𝕪 𝕃𝕚𝕫𝕫𝕚𝕖 𝔹𝕠𝕣𝕕𝕖𝕟.

CW // nudity and sexual violence.

The film follows Molly, a lesbian who secretly works as an escort to help pay the bills. We follows her throughout her workday, from the moment she wakes up to the moment we say goodnight to her. Very explicit, so this may be one to watch alone- this is definitely a late night movie!

This is a radically nonjudgmental film on sex work- it’s almost as if you could replace their job with accounting and this movie really wouldn’t be that different. I was amazed by Lizzie Borden and her ability to capture something so taboo and polarizing in such a neutral light!

[heydrangeas]

I have so much to say about poor things….it didn’t quite stick the landing for me, nor was it the feminist piece so many touted it as. Which is fine, but then why are we calling it that? I think a lot of moments people read as comedy were actually horror. A movie I’m so glad I didn’t see in theaters, as anyone laughing during Bella’s sexual toddler exploration would have made me cringe. Having sex because you’re horny while being vastly younger than a male partner is a real situation that many young women find themselves in—then you grow up and realize you were being taken advantage of. I think this point starts to get explored then deflates into “yeah whatever, empowerment though!”

It *was* adventurous and funny and pushed some boundaries. but I am just not seeing the feminist tale that so many people are seeing. I’m not someone who thinks depiction = promotion, or who’s averse to sex in movies. and yet there were so many elements that sort of made me raise my eyebrows and think “was a woman at all consulted on this?” I don’t even get the sense that Lanthimos was necessarily going for a feminist message here—at least not fully. In fact I think that the treatment of Margaret Qualley’s character at the end is evidence of this. I like movies that don’t spoonfeed the audience, and yet I’m bothered by the girlbossification of this story.

For all her independence, Bella never turns down a sexual partner, even the aggressive disgusting clients at the brothel. She never bleeds or has a period or gets pregnant or grows hair on her legs. “Sex can be so empowering if you literally never say no to men!!” eye roll.

I found the filmography (revoking access to your fisheye lense immediately, Yorgos), score, and themes to be very one note. The performances were great and the characters were incredibly well done, though I would have liked to see more of my favorites, including the cool pair Bella meets on the boat.

Overall a bit of a letdown given how universally loved this movie seems to be. I appreciate the existence of uncomfortable art (and Lanthimos is great at that) but people are acting like discomfort is not supposed to be part of this story, and if that’s what you came away with, you “didn’t get it.”

[amesmonde]

Slumber Party Massacre (1982) and Slumber Party Massacre II (1987) Review

Slumber Party Massacre (1982)  When Trish throws a slumber party, an escaped killer with a power drill terrorises her friends and neighbours. Slumber Party Massacre (1982), directed by Amy Holden Jones, offers a fresh perspective to the genre for its time.(Not to be confused with Sorority House Massacre (1986)-Its Halloween-like atmosphere is apparent, but the decision to show the killer, Russ…

[dgspeaks]

Rediscovering a Classic: A Review of "Little Women" (2019)

As a long-time admirer of Louisa May Alcott’s “Little Women” and a fan of the original classic film adaptation, I approached Greta Gerwig’s 2019 version with a mix of excitement and curiosity. The story of the March sisters has always held a special place in my heart, and I was eager to see how this modern retelling would resonate. I can confidently say that Gerwig’s interpretation not only…

[poppletonink]

TV SHOW REVIEW: The Babysitters Club

★★★★★ - 5 stars

“With all the things I can do, the only thing they care about is the one thing I can’t.”

Based on the novels by Ann M. Martin, The Babysitters Club follows a group of early-teenage girls as they learn about friendship, life, and babysitting.

At its core, the Babysitters Club depicts the importance of friendship and family - how relationships define us as people. It also shows the importance of identity. Each character displays different interests - such as art, theatre and politics - showing how discovering your own interests at a young age is extremely important to development. Furthermore, the show depicts young love, grief and important life experiences, such as first periods. It shows everything that makes up the life of a teenager, and how integral each and every experience we have is to who we are as individuals.

With a diverse cast, impeccable acting and well written storylines, The Babysitters Club is an iconic show that should be on everyone's watchlist.

[eccentricphilosoph]

The Woman King was so underrated. Films written, directed, and performed by black women also deserve more recognition as well

But no, The Barbie Movie got the attention and the accolades, not a film about women who hold their own in a realistic society and in battle.

[roseshavethoughts]

The Beguiled (2017)

The Beguiled (2017) #FilmReview

Synopsis-During a civil war, John McBurney, a soldier from the rival clan, seeks refuge in an all-girls boarding school. With the arrival of his presence, a wave of jealousy and lust rises among the ladies. Director- Sophia Coppola Starring- Kirsten Dunst, Colin Farrell, Nicole Kidman, Elle Fanning Genre- Historical | War | Thriller Released- 2017 ⭐⭐⭐⭐ Rating: 4 out of 5. Sofia Coppola’s…

[hannibalismos-jaaneman]

the fact that barbie's rotten tomatoes score is 90% and oppenheimer's is 94% says a lot about us as a society.

[morganreviews]

greta gerwig's "barbie"

a review and commentary on the new hot pink hit film.

how greta gerwig's barbie managed to discuss the topics of patriarchy and feminism with seriousness and satire simultaneously is something that i personally feel is being lost in much of the audience. it is being diminished to "liberal feminism," "superficial," and promoting a message that has been tired out. i won't dive into the emotions of watching barbie as a girl or how america ferrera's monologue encapsulated everything i have ever felt about womanhood, but i will say that barbie is not the reductive, shallow-messaged film it is being accused of being. we were not auditing "feminism 101," rather, we were witnessing a young girl learn for the first time in her life that the world has been built against her. the reason barbie feels like such amateur commentary is because barbie herself is comparable to a child, which explains why a middle schooler's illy given argument brings her to tears. it is not meant to be a radical or even a significant approach to the concept of feminism, and it's relatability is not rooted in the idea that all women, at some point, will inevitably suffer at the hands of patriarchy, but it is rooted in the fact that barbie is a retelling of every girl's first realization that society has constructed itself to fail her and encourage continued mediocrity from the men around her.

on the topic of the men in this film (or kens, if you will), i found myself feeling as if i was watching the boys around me grow up all over again. i see the once kind, innocent young boys of kindergarten whose minds were contaminated by alpha male podcasts and softcore tradwife pornography in ken, and it is worth noting that none of the kens throughout this film were ever painted as villains. even at their most antagonistic, they were made out to be nothing more than just misguided, ill-informed and insecure. some may even say the kens in this film were pitiable. and even in such a feminist, patriarchy-centric film, there is a redemption arch and a moment of self-actualization for the focal ken of this film.

while i will defend barbie from it's accusations of facile meaning, it goes without saying that barbie does still serve as a capitalistic promotion. at some points, you may have forgotten you weren't watching a car commercial, and while barbie does provide a diverse, heavy representation of men and women in this film, it is still a movie which follows a conventionally attractive white woman. the film even breaks the fourth wall in addressing this irony, but the topic of diversity and representation is still a topic worth discussing. some argue that the two queer-coded characters (if you perceive weird barbie and allan to be queer-coded) are presented as weird and unlikable and that barbie receiving the most amount of credit for dismantling the barbieland patriarchy despite significant help from america ferrera's chatacter along with several other barbies feeds into the idea of white supremacy and the white savior complex (which is also addressed in the film with the comment, "go white savior barbie!"). but even with its flaws, barbie still serves its purpose of relatability. seeing someone who could only be as described as the perfect woman struggle with self-worth the same every other woman has struggled with self-worth is morbidly healing. i did not expect barbie to exonerate the guilt of womanhood the way that it did, and i certainly did not expect to leave the movie theater with the weight of every girl i have ever been resting on my shoulders.

and for those that feel that the topics of feminism, womanhood, and women's rights are tired and redundant, i encourage you to ask yourself what you are doing to diminish womankind's need to repeat this topic over and over. let me know if you have an answer.

[aperture-of-bullshit]

tldr of my thoughts on the Barbie movie is that for me it fails where I expected it to fail (as a critique of capitalism and the way it and whiteness factors into the misogyny of it all), succeeds where I expected it to (visually and comedically), and exceeded expectations in areas where I didn’t even know to have expectations (Barbie and her relationship to humanity/becoming human)