How Barbie and The Marvels Support Feminine Creativity

2023 contained an avalanche of films written, directed, adapted by, and starring women. From established, respected names such as Greta Gerwig, Nia DaCosta, Adele Lim, Emerald Fennell, and Sofia Coppola to debuts from Celine Song and Raven Jackson, women from all different backgrounds created timeless, memorable films that, most importantly, female moviegoers flocked to and adored. From raunchy comedies and hard-hitting dramas to historical time capsules and a film based on everyone’s favorite doll, the diversity in both the women behind the camera and the ones portrayed in front of it proved to be refreshing, necessary, and beloved.Barbie was an international hit, raking in over a billion dollars at the box office and dominating the pop culture lexicon for the rest of the summer. Captain Marvel did similar box office numbers back in 2019, becoming one of the highest-grossing films of that year (and was, coincidentally, co-directed by a woman). Barbie and The Marvels proved to studios that films boasting a female crew and cast aren’t just nice to see anymore; they’re necessary and vital to the landscape of cinema.Greta Gerwig carved out a space for herself as an indie darling back in 2014’s Frances Ha, but she exploded in popularity with her 2017 directorial debut, Lady Bird. The film focuses on a tumultuous relationship between a Sacramento teenager and her mother and strongly connected with a female audience. It wasn’t the first time a film documented the complexities of such a relationship, but it resonated with women and girls alike. Gerwig’s 2019 adaptation of Little Women firmly cemented her as a writer-director who understood the female experience and the challenges and fears that come with coming of age as a young woman, both in the past and present. Seeing her take on the doll that so many played with as young girls before they were exposed to misogyny and the struggles of womanhood was something moviegoers had been anticipating for years. Barbie proved to be worth the wait.

2023 contained an avalanche of films written, directed, adapted by, and starring women. From established, respected names such as Greta Gerwig, Nia DaCosta, Adele Lim, Emerald Fennell, and Sofia Coppola to debuts from Celine Song and Raven Jackson, women from all different backgrounds created timeless, memorable films that, most importantly, female moviegoers flocked to and adored. From raunchy comedies and hard-hitting dramas to historical time capsules and a film based on everyone’s favorite doll, the diversity in both the women behind the camera and the ones portrayed in front of it proved to be refreshing, necessary, and beloved.

Barbie was an international hit, raking in over a billion dollars at the box office and dominating the pop culture lexicon for the rest of the summer. Captain Marvel did similar box office numbers back in 2019, becoming one of the highest-grossing films of that year (and was, coincidentally, co-directed by a woman). Barbie and The Marvels proved to studios that films boasting a female crew and cast aren’t just nice to see anymore; they’re necessary and vital to the landscape of cinema.

Greta Gerwig carved out a space for herself as an indie darling back in 2014’s Frances Ha, but she exploded in popularity with her 2017 directorial debut, Lady Bird. The film focuses on a tumultuous relationship between a Sacramento teenager and her mother and strongly connected with a female audience. It wasn’t the first time a film documented the complexities of such a relationship, but it resonated with women and girls alike. Gerwig’s 2019 adaptation of Little Women firmly cemented her as a writer-director who understood the female experience and the challenges and fears that come with coming of age as a young woman, both in the past and present. Seeing her take on the doll that so many played with as young girls before they were exposed to misogyny and the struggles of womanhood was something moviegoers had been anticipating for years. Barbie proved to be worth the wait.

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