In the world of cinema, certain movies possess a unique ability to convey powerful messages while wrapped in the garb of entertainment. These films cleverly embed significant societal commentary within their narratives, offering thought-provoking insights in a lighthearted and amusing package.

One such recent example is Greta Gerwig’s latest venture that overturns conventional perceptions, all thanks to the world’s most beloved doll and an Eden of fun and pink attire—Barbie. Here, Barbie resides alongside her respective Kens, on a mission to bring joy to generations of girls by showcasing that they can be anything they desire. There are Barbie presidents, scientists, journalists, and notably, the stereotypical Barbie portrayed by Margot Robbie. Alongside her is Ryan Gosling, a charming and sensitive Ken who grapples with the lack of attention from his companion. As she begins displaying peculiar symptoms (disclaimer: the fear of mortality and flat feet), he follows her into the real world to fathom the root cause of her malaise.

The storyline toys with role reversals: the innocent and unsuspecting protagonist is confronted with the harsh realities of womanhood. Yet, beyond catcalling and not being taken seriously, she discovers a loss of purpose—new generations deem her a sexist toy. Meanwhile, patriarchy serves as a breath of fresh air for Ken, finding validation in chauvinism and engaging with horses. Thus, he orchestrates a coup d’état in Barbieland, not as a true antagonist but as an outlet for the eternal child who has yet to experience the original sin—sans violence or a reign of terror.

Amidst the film’s myriad themes, the relationship between the sexes stands out prominently and has sparked considerable debate. However, many viewers fail to recognize a pivotal element of the plot: nobody enjoys being someone else’s function. Consequently, both characters undergo significant arcs centered around identity. Ken must grasp who he is beyond Barbie, while she, akin to Pinocchio, chooses to become a “real” woman—in her ways and time, starting with a gynecological visit.

The film’s strength lies in its overt superficiality, hitting its mark regardless: conveying a message to those willing to receive it while irking those averse to deep reflection. Not a feminist product per se, but undoubtedly feminine and distinctive in its genre.

By analyzing films like these, we delve into a nuanced realm of cinema—where comedy and entertainment become vessels for profound societal introspection.