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Barbie (film)

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This article is about the 2023 live-action film. For the animated Barbie films, see List of Barbie films.

Barbie
In the sky, a large styled pink "B" with Margot Robbie as Barbie sitting holding out her right arm and Ken lying down in an angle with his head resting on his right clenched hand. A tagline reads: "She's everything. He's just Ken."
Theatrical release poster
Directed byGreta Gerwig
Written by
Based onBarbie
by Mattel
Produced by
Starring
CinematographyRodrigo Prieto
Edited byNick Houy
Music by
Production
companies
Distributed byWarner Bros. Pictures
Release dates
  • July 9, 2023 (2023-07-09) (Shrine Auditorium)
  • July 21, 2023 (2023-07-21) (United States)
Running time
114 minutes[1]
CountryUnited States
LanguageEnglish
Budget$128–145 million[2][3]
Box office$472.6 million[4][5]

Barbie is a 2023 American fantasy comedy film directed by Greta Gerwig and written by Gerwig and Noah Baumbach.[6] Based on the Barbie fashion dolls by Mattel, it is the first live-action Barbie film after numerous computer-animated direct-to-video and streaming television films. The film follows Barbie (Margot Robbie) and Ken (Ryan Gosling) on a journey of self-discovery following an existential crisis. It features an ensemble cast that also includes America Ferrera, Kate McKinnon, Issa Rae, Rhea Perlman, and Will Ferrell.

A live-action Barbie film was announced in September 2009 by Universal Pictures with Laurence Mark producing. Development began in April 2014, when Sony Pictures acquired the film rights. Following multiple writer and director changes and the casting of Amy Schumer and later Anne Hathaway as Barbie, the rights were transferred to Warner Bros. Pictures in October 2018. Robbie was cast in 2019, and Gerwig was announced as director and co-writer with Baumbach in 2021. The rest of the cast were announced in early 2022. Filming took place primarily at Warner Bros. Studios, Leavesden, in England and on the Venice Beach Skatepark in Los Angeles from March to July 2022.

Barbie premiered at the Shrine Auditorium in Los Angeles on July 9, 2023, and was theatrically released in the United States on July 21, 2023, by Warner Bros. Pictures. Its simultaneous release with Christopher Nolan's Oppenheimer led to the "Barbenheimer" phenomenon on social media, which encouraged audiences to see both films as a double feature. The film received mostly positive reviews, and has grossed over $472 million worldwide, becoming the tenth-highest grossing film of 2023.

Plot

Stereotypical Barbie ("Barbie") and a wide range of fellow Barbies all reside in Barbieland, a matriarchal society where all women are self-confident, self-sufficient, and successful. While their Ken counterparts spend their days engaging in recreational activities at the beach, the Barbies hold all important job positions such as doctors, lawyers, and politicians. Beach Ken ("Ken") is only happy when he is with Barbie and seeks a closer relationship, but Barbie rebuffs him in favor of independence and female friendships.

During a dance party, Barbie is suddenly stricken with worries about mortality. The next day, she finds she can no longer complete her usual routine and discovers her feet have gone flat and she has cellulite. Weird Barbie, a wise but disfigured outcast, tells her that to cure her affliction, she must travel into the real world and find the child playing with her. On her way to the real world, Barbie finds Ken stowed away in her convertible, and reluctantly allows him to join her.

Arriving at Venice Beach, the two cause multiple antics and are arrested, alarming the Mattel CEO, who orders their capture. Barbie tracks down her owner, a tween girl named Sasha, who criticizes her for encouraging unrealistic beauty standards. Distraught, Barbie discovers that Gloria, a Mattel employee and Sasha's mother, is the catalyst of her existential crisis. Gloria began playing with Sasha's Barbie toys while experiencing her own identity crisis, inadvertently transferring her concerns to Barbie. Gloria and Sasha rescue Barbie from Mattel's CEO and his subordinates, and the three travel together to Barbieland.

Meanwhile, Ken learns about the patriarchal system, and feels respected and accepted for the first time. Returning to Barbieland, he persuades the other Kens into taking over, and the Barbies are subjugated into submissive roles, such as maids, housewives, and agreeable girlfriends. Barbie arrives and tries to convince Ken and the Barbies to return to the way things were, only to be rebuffed. She becomes depressed, but Gloria gives her an inspirational speech about what it means to be a woman.

With the encouragement of Sasha, Gloria, Weird Barbie, Allan, and other discontinued dolls, the Barbies free themselves from the Kens and manipulate them to fight amongst themselves, allowing the Barbies to regain their positions of power and prevent the Kens from altering the constitution to enshrine male superiority. The Barbies also realize the error of their previous societal system, and decide to make some changes in Barbieland, including equal treatment for the Kens and all outcast dolls.

Barbie and Ken apologize to each other and acknowledge their failings. Ken bemoans that he has no identity or purpose without Barbie, to which Barbie encourages him to find an autonomous identity. Barbie, who remains unsure of her own purpose and identity, meets with the spirit of Mattel co-founder and Barbie inventor Ruth Handler, who explains that Barbie's story has no set ending and her ever-evolving history surpasses that of her roots.

Barbie decides to become human and return to the real world. Some time later, Gloria, her husband, and Sasha take Barbie, now going by the name "Barbara Handler", to her first gynecological appointment.

Cast

Margot Robbie at the 2016 San Diego Comic Con International in San Diego, California.
Ryan Gosling at the 2017 San Diego Comic Con International in San Diego, California.
Margot Robbie (left) and Ryan Gosling (right) portray Barbie and Ken.

Production

Development

Development on a film based on the Barbie toy line began in September 2009, when it was announced that Mattel had signed a partnership to develop the project with Universal Pictures and with Laurence Mark as producer, but nothing came to fruition.[31] In April 2014, Mattel teamed with Sony Pictures to produce the film, which would have Jenny Bicks writing the screenplay and Laurie MacDonald and Walter F. Parkes producing through the Parkes+MacDonald Image Nation banner they created. Filming at the time was anticipated to begin by the end of the year.[32] In March 2015, Diablo Cody was brought onto the project to rewrite the screenplay, and Amy Pascal joined the producing team.[33] Sony Pictures would again have rewrites done to the screenplay later that year, hiring Lindsey Beer, Bert V. Royal, and Hillary Winston to write separate drafts.[34]

In December 2016, Amy Schumer entered negotiations to star in the title role with Winston's screenplay; Schumer helped rewrite the script with her sister, Kim Caramele.[35] In March 2017, Schumer exited negotiations, blaming scheduling conflicts with the planned June 2017 filming start; in 2023 she revealed she left the project due to creative differences with the film's producers at the time.[36][37] That July, Anne Hathaway was under consideration for the title role, with Sony Pictures hiring Olivia Milch to rewrite the screenplay and approaching Alethea Jones to direct as a means to interest Hathaway into signing on.[38] Jones was attached to direct by March 2018.[39]

In August 2018, Robbie Brenner had been hired as producer by Mattel CEO Ynon Kreiz with the rights reverting back to Mattel, with Kreiz having the intention to repossess the rights following the expiration of Sony Pictures's option. Later, Brenner was hired to run Mattel Films.[40][41] The expiration of Sony Pictures's option on the project in October 2018 and its transfer to Warner Bros. Pictures would see the departures of Hathaway, Jones, Macdonald, Parkes and Pascal. Margot Robbie would enter early talks for the role, with Patty Jenkins briefly considered for the director position.[42] Kreiz was determined to cast Robbie in the titular role after meeting with her following his hiring as CEO as both he and Brenner had felt that Robbie's appearance had been close to the appearance of a conventional Barbie doll and had been impressed by her ideas. Initial meetings had occurred at the Polo Lounge located in the The Beverly Hills Hotel.[43][41] Eventually, Brenner had partnered with Robbie's production company, LuckyChap Entertainment, with Robbie's husband Tom Ackerley and Josey McNamara also being enlisted as producers.[40][41] Robbie's casting was confirmed in July 2019.[7]

Robbie had also been the producer and had pitched the film to Warner Bros. During the green-light meeting, Robbie had compared the film to Steven Spielberg's Jurassic Park (1993) and had also jokingly suggested that it would gross over a billion dollars.[44] Later on, she approached Greta Gerwig as the screenwriter as she enjoyed Gerwig's previous films, particularly Little Women (2019). Gerwig was in post-production for another film, and accepted the role on the condition that her partner, Noah Baumbach, would also write the screenplay.[45][46] Gerwig signed on to also direct the film in July 2021.[47] Robbie said that the film's aim was to subvert expectations and give audiences "the thing you didn't know you wanted".[48]

Writing

Greta Gerwig at the 2018 Berlin International Film Festival in Berlin, Germany.
The director Noah Baumbach speaks about the courtroom scene in his film Marriage Story.
Director Greta Gerwig (left) co-wrote the screenplay with her partner, Noah Baumbach.

Gerwig and Baumbach were given full creative freedom in writing the film. They collaborated on the screenplay during the COVID-19 pandemic lockdowns of 2020–2021 and described the writing process as "open" and "free". Gerwig's film treatment consisted of an abstract poem on Barbie influenced by the Apostles' Creed.[citation needed] For the narrative arc, she was partially inspired by the 1994 non-fiction book Reviving Ophelia by Mary Pipher, which accounts the effects of societal pressures on American adolescent girls. She also found inspiration in classic Technicolor musicals such as The Red Shoes (1948) and The Umbrellas of Cherbourg (1964), and said: "They have such a high level of what we came to call authentic artificiality. You have a painted sky in a soundstage. Which is an illusion, but it's also really there. The painted backdrop is really there. The tangibility of the artifice is something that we kept going back to."[49] The script also contains candid criticism of Mattel, which created skepticism among Mattel officials when they received the first version. However, Kreiz decided to trust Gerwig. Brenner noted that "being safe in this world doesn't work" as she interpreted Barbie to be a "bold" and "trailblazer" figure. As a result, Will Ferrell's portrayal as the Mattel CEO was meant to be an allegory for corporate America. Kreiz praised Ferrell and said that while Mattel officials took their brands seriously, they did not take themselves seriously.[41] Gerwig and Robbie had both felt the film was "most certainly a feminist film" but Mattel officials had rejected the description. Both Gerwig and Robbie had informed the studio that they would also explore the controversies and problematic parts of Barbie, but they had also convinced the studio that they would respect the product.[50]

Gerwig was also influenced by her childhood experiences with Barbie. Her mother had discouraged her from purchasing the dolls, but eventually allowed her to.[51] Opting to acknowledge the controversial nature of the Barbie doll, Gerwig chose to create a film in which she would be both "doing the thing and subverting the thing", in the sense that she would be celebrating the feminism behind Barbie while also noting the controversial beauty standards associated with it. She was also fascinated by the idea that humans create dolls, which in turn imitate humans, feeling that "we're in constant conversation with inanimate objects" while also conveying an affirmative message to the audience to "just be yourself and know that that's enough". The film deliberately juxtaposed contradictory messaging, such as critiquing consumerism yet glamorizing plastic products, and in the ending of the film, in which Barbie desires to be more than just a plastic doll. Gerwig made the film as an "earnest attempt to make amends" with the intention of affirming the worth of women and conveying the impossibility of perfection, which some perceived to be standards associated with Barbie.[52][53] Reflecting upon the maximalism of Barbie, Gerwig said that the "ontology of Barbie" was similar to what she perceived as Shakespeare's maximalism, which she had enjoyed in his works. She grounded the film in what she described as a "heightened theatricality that allows you to deal with big ideas in the midst of anarchic play".[54]

Gerwig described the film as being anarchic, unhinged, and humanist.[51][55] She felt that the film originated from the "deep isolation of the pandemic", opining that the line in which Margot Robbie says "Do you guys ever think about dying?" exemplifies the film's anarchic nature. She also found the idea of Barbie being "constrained in multitudes" as "all of these women are Barbie and Barbie is all of these women" to be "trippy" and felt as a result, Barbie did not need to have her own personal life, as she was attuned to her environment. She also described the story as mirroring a girl's journey from childhood to adolescence, though she did not deem it to be a coming of age film and felt that the film ultimately "ends up, really, about being human".[51]

Primarily, she began her writing by interpreting Barbie as living in a utopia and eventually experiencing reality, where she would have to "confront all the things that were shielded from them in this place [Barbieland]". She also drew parallels to the story of Adam and Eve and taking inspiration from John Milton's Paradise Lost, particularly being inspired by the concept that there is "no poetry without pain".[46] To underscore the tragic elements of Barbie and Ken facing the real world, she focused on elements of dissonance.[45] As such, she chose to keep a scene featuring Robbie's Barbie tellng an older woman that she's beautiful after being requested to remove it, as she felt that the scene epitomized "the heart of the movie". She also desired to provide a "counterargument" to Barbie by featuring a scene in which Barbie learns that some women do not like her, and felt it gave the film "real intellectual and emotional power".[55] As such, a scene is featured in which Barbie is being stared at inappropriately on the Venice Beach, which Gerwig chose to feature as she felt it was a universal experience, being especially relevant for actors. She was inspired by an audition she did in which she wore overalls and felt that she did not perform well in.[56] The ending of the film features Barbie saying the line "I'm here to see my gynecologist", with Gerwig describing it as a "mic drop kind of joke". She had chose to include the line as she had wanted to instill confidence in younger girls, as she had been embarrassed about her body when she was younger.[57]

Barbie also explores the negative consequences of hierarchical power structures, with Gerwig saying that she extrapolated that "Barbies rule and Kens are an underclass" and felt it was similar to the Planet of the Apes.[55] Ken has low self-esteem and seeks approval from Barbie, which Gerwig identified as a good source for a story. Gosling compared Gerwig's vision to Milton Glaser's I Love New York logo as he felt Gerwig created the film's characters as a way of understanding the contemporary world.[58] Ken has the only power ballad in the film, and Gerwig had identified it as the moment in which she felt the film transcended what a Barbie movie traditionally should have been.[52]

Casting

During the casting process, Gerwig and Robbie looked for actresses with "Barbie energy" (which was described as "a certain ineffable combination of beauty and exuberance").[49]

In October 2021, Ryan Gosling entered final negotiations to play Ken in the film.[16] America Ferrera, Simu Liu and Kate McKinnon were cast in February 2022.[59][60][61] Liu auditioned for the film after his agent raved about the script being one of the best they had ever read.[62] In March 2022, Ariana Greenblatt, Alexandra Shipp, and Emma Mackey were revealed to be in the cast.[63][64][65] Will Ferrell joined the cast in April, along with Issa Rae, Michael Cera, Hari Nef, Kingsley Ben-Adir, Rhea Perlman, Ncuti Gatwa, Emerald Fennell, Sharon Rooney, Scott Evans, Ana Cruz Kayne, Connor Swindells, Ritu Arya and Jamie Demetriou.[66][22][67][68] In April 2023, John Cena was revealed to have joined the cast via a trailer. It was later revealed that Cena had spontaneously been offered a part in the film after paying for Robbie's meal in London during production.[69] Helen Mirren narrated the film's trailer and also filmed a brief cameo for the film.[70]

Robbie revealed that she wanted Gal Gadot to play a Barbie in the film, but Gadot was unavailable due to scheduling conflicts.[71] Gerwig wanted her frequent collaborators Timothée Chalamet and Saoirse Ronan to make cameo appearances, but neither were available.[72] Additionally Bowen Yang, Dan Levy and Ben Platt were considered for Ken; Jonathan Groff was the first choice for Allan but turned it down.[73]

Set design

Sarah Greenwood and Katie Spencer serve as set designer and decorator, respectively, on the film. For the Barbie Dreamhouse, the pair drew inspiration from the mid-century modernist architecture found in Palm Springs, including the Kaufmann Desert House by Richard Neutra, as well as the photography of Slim Aarons. Gerwig wanted to capture "what was so ridiculously fun about the Dreamhouses", alluding to its previous models, and referenced Pee-wee's Big Adventure, the paintings of Wayne Thiebaud, and Gene Kelly's apartment flat in the 1951 Technicolor musical An American in Paris. "Everything needed to be tactile, because toys are, above all, things you touch", Gerwig was quoted saying of the use of practical effects instead of CGI to capture the sky and the San Jacinto Mountains. The set design is also noted for its extensive use of a specific shade of pink paint, Pantone 219, which reportedly resulted in an international shortage.[74][75] She also sought to use practical builds[clarification needed] and had to first film sequences in miniature models and then composite the footage onto the actual image. She had already discussed the production design with cinematographer Rodrigo Prieto, Greenwood, and costume designer Jacqueline Duran a year beforehand to prepare for the film.[76] Gerwig also called the director Peter Weir for inspiration on Barbie Land, with the idea of creating it as an "interior soundstage world".[56]

Costumes

Costume designer Jacqueline Durran, who previously collaborated with Gerwig on Little Women (2019), employed a practical approach to create Barbie's wardrobe: "The defining characteristic of what she wears is where she's going and what she's doing, [i]t's about being completely dressed for your job or task." To match the film's Barbieland setting, Durran and her team created costumes made of roughly fifteen color combinations "that riffed off the idea of a French Riviera beach in the early 1960s" and drew inspiration from actress Brigitte Bardot. For Ken's outfits, Durran zeroed in a look composed of colorful sportswear from the 1980s, while actor Ryan Gosling suggested a Ken-branded underwear for the character. Durran closely adapted outfits from past iterations of Barbie dolls, such as the 1993 "Western Stampin'" dolls and the 1994 "Hot Skatin'" dolls. She noted the Barbie dolls as "a very useful way to look at different ideas of femininity: what that means, who owns it, and who it's aimed at" and reflected this idea in how she dressed the characters. While the majority of the clothing featured in the film were sourced by Durran and her team, they also pulled pieces from the fashion archives of Chanel.[77]

Filming

Principal photography began in March 22, 2022 at Warner Bros. Studios, Leavesden in England and wrapped on July 21, 2022.[78] Among the notable filming locations was the Venice Beach Skatepark in Los Angeles, California.[79] Rodrigo Prieto served as cinematographer.[80] Prior to filming, Gerwig had organized a sleepover with the female cast members in order for them to establish positive relationships while also feeling that it "would be the most fun way to kick everything off".[51] She also opted to use filming techniques from the 1950s, as Barbie has been a popular toy since 1959, with the intention of recreating a period-accurate look.[76] Additionally, she also watched Powell and Pressburger's A Matter of Life and Death (1946) in order to understand how older visual effects were used to provide a sense of theatricality. To highlight the tragic nature of Barbie and Ken facing the difficulties of the real world, she directed Robbie and Gosling to act as if they were in a drama.[45] Reshoots took place in Los Angeles in April 2023.[81]

Music

Main article: Barbie: The Album
Barbie: The Album logo

Alexandre Desplat, who collaborated with Gerwig on Little Women (2019), was set to score Barbie in early September 2022.[82] However, by May 2023, Desplat had left the project, with Mark Ronson and Andrew Wyatt taking over scoring duties.[83] Over the course of a year, Ronson was tasked with curating a soundtrack that matched Gerwig's vision for Barbie. As the film was being edited in post-production, Ronson and Gerwig would show scenes from the film to artists they wanted on the soundtrack.[84]

The film's soundtrack, Barbie: The Album, was released on July 21, 2023. The album features songs by artists Ava Max, Charli XCX, Dominic Fike, Fifty Fifty, Gayle, Haim, Ice Spice, Kali, Karol G, Khalid, Sam Smith, Lizzo, Nicki Minaj, Billie Eilish, PinkPantheress, Tame Impala, the Kid Laroi, and cast members Ryan Gosling and Dua Lipa.[85] "Dance the Night" by Dua Lipa was released as the album's lead single on May 26, 2023.[86] It was followed by "Watati" by Karol G on June 2, 2023. "Angel" by PinkPantheress was released on June 9, 2023, as the first promotional single.[87][88] "Barbie World" by Nicki Minaj and Ice Spice was released as the album's third single on June 23, 2023.[89] The album's second promotional single, "Speed Drive" by Charli XCX was released on June 30, 2023.[90] On July 6, 2023, the album's third and final promotional single, "Barbie Dreams" by Fifty Fifty and Kaliii was released.[91] On July 10, 2023, Warner Bros. released a preview clip of Ryan Gosling singing "I'm Just Ken".[92] The album's fourth single, "What Was I Made For?" by Billie Eilish, was released on July 13, 2023.[93]

Despite fan expectations for the 1997 song "Barbie Girl" by the pop band Aqua to feature in the film, Ulrich Møller-Jørgensen, manager for Aqua lead singer Lene Nystrøm, said that it was not used. Variety speculated that this was due to bad relations between Mattel and MCA Records, the song's American publisher, who engaged in a series of lawsuits over the song from 1997 to 2002.[94] "Barbie World", a rework of the song, was instead featured in the film.[95][89] It samples "Barbie Girl";[96] Aqua is credited as a performer and co-writer on the track.[96][97]

The film features multiple renditions of the 1989 song "Closer to Fine" by the Indigo Girls and the 1997 song "Push" by Matchbox Twenty, the latter of which Ken adopts as his favorite song after visiting the real world, which becomes "a tongue-in-cheek anthem of patriarchal dominance" in the fictional Barbieland.[98] While many reviews of the film interpreted this as a critique of the song,[99][100] director Greta Gerwig said that she was a fan of Matchbox Twenty and "I never put anything in a movie I don’t love."[101]

Marketing

File:Barbie Advertisement Toronto (cropped).jpg
Barbie advertisement at the Toronto Eaton Centre
Director Greta Gerwig at an event for Barbie at the British Embassy in Washington, D.C.

Barbie was promoted with an extensive marketing campaign. In the months leading up to the release of the film, Mattel entered into several Barbie-themed promotional partnerships and collaborations with various brands including Airbnb,[102] Aldo,[103] Bloomingdale's,[104] Burger King Brazil,[105] Chi Haircare,[106] Forever 21,[107] Gap,[108] Hot Topic,[109] Krispy Kreme Philippines,[110] Primark,[111] Progressive Insurance,[112] Spirit Halloween,[113] Ulta,[114] and Xbox.[115] Additionally, studio parent company Warner Bros. Discovery promoted the film through its TV channels, most prominently with an HGTV renovation reality competition series titled Barbie Dreamhouse Challenge, co-produced by Mattel Television, which premiered shortly before the film's release.[116] Trade publication Variety reported that Warner Bros. spent $150 million on marketing for Barbie—more than the $145 million budget used to produce the movie itself.[117][118]

A first-look image of the film was revealed during a Warner Bros. presentation at CinemaCon in April 2022. Released to the public on April 27, 2022, the image saw Margot Robbie as Barbie, sitting behind the wheel of her iconic pink 1956 Chevrolet Corvette.[119] Collider complimented Robbie in the image, stating: "This photo is just further proof that Robbie was made to play this role. She just looks like a Barbie doll come to life—it's almost uncanny".[120] On June 15, 2022, a second still featuring Ryan Gosling as Ken was released.[121] Despite noting similarities between his look in the image and his previous roles, The Guardian asserted that "there is a very strong chance that this will be [Gosling's] defining role".[122]

A booth dedicated to Barbie was opened at the 2022 CCXP event in São Paulo, Brazil.[123] The first teaser trailer for the film debuted during preview screenings of Avatar: The Way of Water in December 2022. It featured a parody of the opening "Dawn of Man" sequence in Stanley Kubrick's 1968 film 2001: A Space Odyssey, in which Robbie (clad in Barbie's original 1959 outfit) imitates an alien monolith whose influence on the history of dolls is narrated by Mirren.[124] Along with a theatrical poster, the teaser trailer was released to the public on December 16, 2022.[125] Rolling Stone praised the 2001 homage and vibrant colors of trailer, and remarked on its vague outlining of the plot: "One has to wonder when, or better yet how, it will all get shaken up".[126]

On April 4, 2023, twenty-four character posters of the several Barbies and Kens featured in the film—each tagged with brief descriptions—were shared on the Barbie's social media accounts.[127] Empire remarked: "You might have thought that Multiverse fever would be constrained generally to comic book films and never-would-have-called-it Oscar winners [Everything Everywhere All at Once]. But ... it seems Greta Gerwig's Barbie movie will also be flooding the screen with variants, this time of plastic dolls Barbie and Ken".[128] A second teaser trailer was unveiled shortly after the release of the posters. It featured a rendition of the Beach Boys' 1964 surf rock song "Fun, Fun, Fun".[129] The Washington Post noted that the "visually striking" and "polysemic" teaser captivated multiple demographics because of its humor, color palette, and the Barbie doll's cross-generational appeal.[130] An official trailer for the film was released on May 25, 2023.[131] Critics noted for its existential tone set against upbeat music.[132][133][134][135] Ben Travis of Empire said: "There's much to discuss here—not least, that it looks visually impeccable" and speculated Academy Awards attention for its production and costume design.[136]

A parade float was featured at the 2023 WeHo Pride Parade in Los Angeles to promote the film. Two of its LGBTQ+ cast members, Alexandra Shipp and Scott Evans, were present during the event.[137]

In June 2023, a French Barbie poster went viral for including the tagline "Elle peut tout faire. Lui, c'est juste Ken.", which literally translates to "She can do everything. He's just Ken." However, ken is the verlan slang term for "fuck" in French, i.e. the phonological inversion of nique, while c'est ("he is") is a homophone for sait ("he knows how"), meaning the tagline could be read as "She can do everything. He just knows how to fuck." Analysts concluded that it was likely the pun was intentional, as the slang term is common knowledge among French speakers, though Warner Bros. would neither confirm nor deny whether this was the case.[138]

An all pink billboard used to promote Barbie. This image depicts a pink field, with the words 'July 21st' written in a stylized font in the bottom right-hand corner.
An all-pink billboard used to promote the film.

Leading up to the release, pink billboards, blank apart from the film's release date, have appeared worldwide, and a real-world "Barbie Dreamhouse" in Malibu, California became available to rent through Airbnb.[139]

On July 14, 2023, SAG-AFTRA, an American labor union of film, television, and voice actors, declared a strike action, effectively halting any promotional event that involves any member in the guild.[140] Robbie showed her support in the action.[141] SAG-AFTRA President Fran Drescher later claimed the studios "duped" the guild into accepting a 12-day-extension for negotiations in order to continue promoting summer films like Barbie.[142]

To coincide with the release of the film, a stop-motion animated crossover trailer for the Seth Rogen produced animated film, Teenage Mutant Ninja Turtles: Mutant Mayhem from Paramount Pictures was released on July 20, 2023.[143]

Release

The Barbie pink carpet premiere in Sydney, Australia

Barbie had its world premiere at the Shrine Auditorium in Los Angeles on July 9, 2023,[144] followed by the European premiere at Cineworld Leicester Square in London on July 12, 2023.[145] It was released theatrically in the United States and the United Kingdom on July 21, 2023,[146][147] taking over the original release date of Coyote vs. Acme.[148] Previous iterations of the project were set for June 2, 2017;[149] May 12, 2017;[150] June 29, 2018;[151] August 8, 2018;[152] and May 8, 2020.[153]

The film was released on the same day as Oppenheimer, a biographical film about J. Robert Oppenheimer written and directed by Christopher Nolan based on the book American Prometheus, and distributed by Universal Pictures. Due to the tonal and genre contrast between the two films, many social media users created memes and ironic posts about how the two films appealed to different audiences,[154] and how they should be viewed as a double feature.[155] The trend was dubbed "Barbenheimer".[156] In an interview with La Vanguardia, Oppenheimer star Cillian Murphy endorsed the phenomenon, saying, "My advice would be for people to go see both, on the same day. If they are good films, then that's cinema's gain."[157]

Release of the film in Pakistan's Punjab province was delayed due to "objectionable content". The censor office did not provide specifics.[158]

Nine-dash line controversy

See also: Territorial disputes in the South China Sea and Nine-dash line
Following the news of Vietnam's ban of the film, some media outlets pointed to a scene featured in the film's trailer which shows a drawing of a world map with a curved line of dashes alongside "Asia"; Warner Bros. stated that it was "not intended to make any type of statement."

The controversy over the alleged appearance of the nine-dash line (a maritime border running through the South China Sea set and claimed by the Government of the People's Republic of China) in the film began when Vietnam's film censorship authority banned the film for allegedly displaying such lines. In contrast, the Philippine counterpart instead requested that the lines in question be blurred. Both countries have banned the films Abominable (2019) and Uncharted (2022) for featuring the actual nine-dash line.[159][160] The nine-dash line is controversial due to maritime border disputes between China, Vietnam, Taiwan, Malaysia, Brunei, and the Philippines.[161]

Vietnam

On July 3, 2023, Vietnamese newspaper Tuổi Trẻ quoted Vi Kiến Thành [vi], head of the Department of Cinema, as announcing that Barbie would be banned in Vietnam because it contained "the offending image of the nine-dash line."[162][163] The Tiền Phong newspaper reported that the nine-dash line "appears multiple times in the film".[164][165] The film was originally scheduled to be released in Vietnam on July 21.[166]

Speaking to Voice of America, Trịnh Hữu Long (founder of the research group Legal Initiatives for Vietnam) said, "The censors will even be praised for overreacting to the unclear map, by both their superiors and the public, because anti-China sentiment runs deep into the country's political culture", and that "the government is surely using legitimate nationalist reasoning to strengthen its entire censorship system", while Michael Caster at the free expression group Article 19 said, "Maps are political, and borders often bear historical wounds, but rather than ensuring free and open discussion, the knee jerk response to censor seldom supports historical or transitional justice".[167]

Speaking to Vox, UC Berkeley professor Peter Zinoman said, "To the Chinese, the nine-dash line signifies their legitimate claims to the South China Sea", and "to the Vietnamese, it symbolizes a brazen act of imperialist bullying that elevates Chinese national interest over an older shared set of interests of socialist brotherhood," while Harvard University professor Huệ-Tâm Hồ Tài [vi] said since the producers of the film were aiming for the mainland Chinese market in the hopes that it would be a blockbuster, "they are ready to accept [mainland China's] view of geography. Disinformation works by repetition." New York University professor Kevin Li said, "In my view, banning [Barbie] was a no-brainer."[168]

The Philippines

When news of Vietnam's ban reached the Philippines, Senator Francis Tolentino, vice chairman of the Philippine Senate Committee on Foreign Relations, told CNN Philippines that Barbie may also be banned in the country because it "denigrates" Filipino sovereignty.[169] Senator Jinggoy Estrada called the film to be banned over the alleged inclusion of the nine-dash line; opposition senator Risa Hontiveros quipped "the movie is fiction, and so is the nine-dash line", and suggested adding a disclaimer to the film instead of banning its release.[170] Senator Robin Padilla, chairman of the Senate mass media committee, suggested that the film producers must edit out references to the nine-dash line or risk the film being banned.[171]

On July 11, the Philippines' Movie and Television Review and Classification Board (MTRCB) came to the conclusion that there was "no basis" to banning the film as the map was simply "cartoonish" and that there was no clear nor outright depiction of the nine-dash line, as the line in the film was "not U-Shaped" and had "eight dots or dashes" instead of nine.[172][173] The board gave the film a PG rating, as well as allowing it to be screened in the country, however they requested Warner Bros. to "blur the controversial lines in order to avoid further misinterpretations".[174][175] Senator Tolentino said that he respected the MTRCB's decision, but expressed his dismay at it emerging a day before the seventh anniversary of the Permanent Court of Arbitration ruling that declared the nine-dash line had no legal basis on July 12, 2016.[176][177] The film was released in the Philippines on July 19, 2023.[177]

World map drawing and Warner Bros.' statement

With the rising concerns over the alleged appearance of the nine-dash line, several media outlets pointed to a drawing of a world map which appears in a trailer for the film.[178][179][180][181] The Los Angeles Times described the particular image as a "map of 'the real world' [which] looks as if it's been drawn in crayon by a child" with a line of dashes "alongside the coast of what should be China."[178] On July 6, 2023, Warner Bros. issued a statement explaining that the map in the concerned image is a "child-like crayon drawing", with the dashed lines depicting Barbie's journey from Barbie Land to the real world and was "not intended to make any type of statement".[182][183]

Reception

Box office

As of July 25, 2023, Barbie has grossed $214.1 million in the United States and Canada, and $258.5 million in other territories, for a worldwide total of $472.6 million.[4][5] It was described as a "record-breaking" box office success during its opening weekend,[184][185][186] and set the record for any film that was not a sequel, remake, or superhero property.[187]

In the United States and Canada, Barbie was released alongside Oppenheimer, and was originally projected to gross $90–125 million from 4,243 theaters in its opening weekend, with Warner Bros. predicting a $75 million debut.[188] The week of their release, AMC Theatres announced that over 40,000 AMC Stubs members had pre-booked tickets to both films on the same day.[189] It earned $70.5 million on its opening day, which included $22.3 million from Wednesday and Thursday night previews, both of which were the best of 2023. Barbie's opening weekend gross of $162 million marked the largest opening since Black Panther: Wakanda Forever ($181.3 million in November 2022). It was also the biggest opening ever for a film helmed by a female director, besting Captain Marvel (2019), and surpassed Suicide Squad (2016) to have Robbie's highest opening weekend.[190][191] It scored the third-highest July opening weekend at the time, behind The Lion King (2019) and Harry Potter and the Deathly Hallows – Part 2 (2011).[192] This also marked the third-highest opening weekend for a Warner Bros. film, after the latter film and Batman v Superman: Dawn of Justice (2016).[193] Barbie also scored the biggest opening for a movie based on a toy, surpassing Transformers: Dark of the Moon (2011).[194] The Barbenheimer phenomenon was widely credited with boosting interest in the film, with a total of 79% of tickets sold over the weekend (52% for Barbie) being for the two films, a total of 18.5 million people.[2] On its fourth day of release, it surpassed The Dark Knight (2008) as the highest Monday gross for any Warner Bros. film, collecting a total of $26.1 million.[195]

Other territories

Outside the United States and Canada, the film earned $194.3 million from 69 offshore markets.[196] As of July 24, 2023, the top 5 markets were the United Kingdom ($29.3 million), Mexico ($26.2 million), Brazil ($20.6 million), Australia ($16 million) and France ($11.8 million).[197]

Critical response

On the review aggregator website Rotten Tomatoes, 90% of 366 critics' reviews are positive, with an average rating of 8.1/10. The website's consensus reads: "Barbie is a visually dazzling comedy whose meta humor is smartly complemented by subversive storytelling."[198] Metacritic, which uses a weighted average, assigned the film a score of 80 out of 100, based on 67 critics, indicating "generally favorable" reviews.[199] Audiences surveyed by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while those polled at PostTrak gave it a 89% overall positive score, with 79% saying they would definitely recommend the film.[2]

In his review for the Chicago Tribune, Michael Phillips called Barbie "a lovely, eccentrically imaginative example of brand extension and raw, untrammeled commercialism", applauded the production design, and summed: "The crucial partnership here is the one between director and performer, Gerwig and Robbie; anything Gerwig and Baumbach's verbally dexterous script requires, from Barbie's first teardrop to the final punchline, Robbie handles with unerring precision".[200] Richard Brody of The New Yorker called it "brilliant, beautiful and fun as hell", claiming the "giddily stylized vision of a doll coming to life makes a serious case for the art of adapting even the most sanitized I.P." and commended the "free and wild" direction as well as the "profuse and exquisite" visual aesthetics.[201] Charlotte O'Sullivan of the Evening Standard hailed the film as "easily the comedy of the year" and similarly added: "One of the funnest and funniest movies ever made, it's also breezily outrageous [...] By refusing to play safe, star and producer Margot Robbie, and writer-director Greta Gerwig, have done themselves proud".[202] Eileen Jones of Jacobin said that the film "manages to overcome cumbersome plotting and feminist pieties to provide a delightful spectacle of funny moments that add up to something pretty good."[203] In The Guardian, Peter Bradshaw awarded Barbie a 3 out of 5 stars, describing it as "beamingly affectionate and deliriously pink-themed" but "perhaps a giant two-hour commercial for a product" and highlighted Gosling as a scene-stealer.[204]

Lovia Gyarke of The Hollywood Reporter called the film a "tricky balancing act of corporate fealty and subversion" lauding Gerwig's direction, the set design, costumes, soundtrack and lead performances, but criticizing the "muddled politics and flat emotional landing".[8] Variety critic Peter Debruge praised the humor for "giv[ing] us permission to challenge what Barbie represents" and lauded Gosling's performance, but concluded that the film is an "an intellectual experience, not an emotional one, grounded largely in audience nostalgia."[205] In the Vulture component of New York, Alison Willmore commended the lead performances, particularly that of Robbie, whom she characterized is "as capable of heartbreaking earnestness as humor, and who sometimes effortlessly achieved both at once", but lamented on the themes of the film, opining that it "doesn't ultimately want to do much more than talk itself in circles about these themes".[206] On a similar note, Stephanie Zacharek of Time praised the lead performances and technical aspects, but criticized the "self aware" nature of the film especially following the first half-hour, concluding that it is a feminist film "only in the most scattershot way", and that it's not "subversive".[207] Camilla Long of The Times praised Gosling's performance of Ken as "hilarious", but wrote that "In trying to be comically ahead of the sexism curve, [the film] ended up feeling sexist itself." Long also criticized the politics of the film as being "utterly incoherent."[208] Kyle Smith of The Wall Street Journal gave a negative review of the film, saying that "As bubbly as the film appears, its script is like a grumpier-than-average women's studies seminar."[209]

Accolades

Barbie won Best Teaser at the 2023 Golden Trailer Awards.[210] It won Most Anticipated Film at the 6th Hollywood Critics Association Midseason Film Awards.[211]

Themes and analysis

As with the doll itself, feminism and related themes in the film were the subject of discussion.[212][213][214][215][216][217][218]

Philosophy

Barbie has been characterized as exploring themes of existentialism.[219][220][221] Lucy Bord of GQ wrote that the film "ruminates on the very idea of what makes us human, the idea of 'the other', whether there's truly such a thing as autonomy or if we're all simply pawns to be picked up and disposed of when we are no longer useful". Bord observed that, in the film, Barbie and Ken go on "opposite but equal" journeys of self-discovery, after venturing out into the Real World and learning that it is an oppressive patriarchal society as opposed to the matriarchal utopia that is Barbieland, and get "caught in the crosshairs of being both sentient and someone else's idea, battling with free will and the omnipresent predetermined rules about where to go and how to act".[220]

In Vogue India, Varya Srivastava applied Beauvoirian concepts of existentialism and individualism to Barbie, arguing that "individualism makes you question societal norms and expectations [...] Even for Barbie, this has been brewing for a while. She has tried to be inclusive and representative. She has tried to acknowledge the feminist critique and now has jobs like being the President, a scientist, a doctor. But the burden of being a role model in a world that is questioning morality and embracing multiplicity is a lot. Existentialism thrives in that gap between what is and what ought to be".[222] Clark University professor of philosophy Wiebke Deimling compared a scene in the film, in which Barbie has to make a choice between going back to her perfect life in Barbieland or learning the truth about her existence in the Real World, to the experience machine, a thought experiment by American philosopher Robert Nozick. Diemling also observed that gender in Barbieland is performative, noting how the Kens behave before and after a patriarchy was established.[223]

Alissa Wilkinson of Vox compared Barbieland to the biblical Garden of Eden, with Barbie and Ken as inverted parallels of Adam and Eve. She saw Barbie and Ken's first impression "that they're suddenly self-conscious and aware of being looked at" in the Real World as the film's version of original sin.[224]

Ideology

Katie Pickles of The Conversation observed that Barbie shows how the matriarchy can be "as bad" as the patriarchy, with the Kens being the objectified and excluded sex in Barbieland. Pickles further comments that the true heroes were outcasts such as Weird Barbie and Allan, who deprogrammed the Barbies from tolerating the status quo. She believes that this aligns with Gerwig's conception of feminism, where "everyone stands in the sunshine".[225]

Eliana Dockterman of Time notes Ken's radicalization resembles the men's rights movement, particularly in his "feelings of emasculation" and evangelization of the patriarchy.[226] As an inversion of the happily-ever-after trope, Ken does not "get the girl" and has to find his own happiness independent of Barbie.[227]

Jack Butler of the National Review rejected the general conservative perception of the film as a "shallow, man-hating, and repulsive screed" and, in arguing that the film is instead a "post-feminist satire of what feminists imagine a perfect world looking like and of what they imagine male dominance is like", noted that in the Real World, "Ken is rebuffed in all of his attempts to join the male hierarchy that purportedly dominates the world. He must return to Barbieland to institute it; what he institutes there is so shallow that it collapses almost as quickly as it is set up. Meanwhile, though Robbie's Barbie restores female dominance in Barbieland, she chooses not to stay there, electing instead to become fully human".[228]

Some journalists coupled Barbie with the Eras Tour by Taylor Swift for the concurrent representation of recontextualized mainstream femininity. Michelle Goldberg of The New York Times described the launch of the film and the tour, their rave public reception, and the associated critical discourses as the biggest cultural phenomena of 2023 summer, explaining that "beneath their slick, exuberant pop surfaces, [both the film and the tour] tell female coming-of-age stories marked by existential crises and bitter confrontations with sexism."[229][230]

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