Like a rose-colored mushroom cloud, Barbie and Oppenheimer have towered over the box office since their debut.
—another military-focused biopic—still holds the record of biggest opening in the U.S. for a biographical film.might seem like a dichotomous duo, they do share some commonalities. Both films seem to weaponize self-awareness to pre-empt critique of their central figures—, by emphasizing Oppy’s remorse in its ending, a long-teased conversation with Albert Einstein that Nolan treats like the key to some sort of emotional puzzle.
There’s no shortage of big tentpoles these days, although more and more of them orbit around pre-existing IP. Really, what’s disappeared from Hollywood areBarbie’s success was never going to fix this problem, and it’s not up to Nolan or Gerwig or any other director to compromise their own success in response.
At the same time, heralding these films’ impressive reception as a positive sign for film overall feels like a misdiagnosis of the core problem. If nothing else, it’s telling that as Gerwig seeks to become a “big studio director” , she had to direct a film likething that our great creative actors and filmmakers live in a world where you can only take giant swings around consumer content and mass-produced products?” Barber asked. “I don’t know. But it is the business.
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