Split Decision: "Barbie"

No two people feel the exact same way about any film. Thus, Team Experience is pairing up to debate the merits of this year’s Oscar movies. Here's the last discussion, between Mark Brinkerhoff and Nick Taylor on Barbie…

NICK: Hi Mark! We’re coming to you live and in color - but mainly in pink - from Barbieland for today’s split decision. This is the only one of these where I get to be on the side of positivity, so if the runoff of good vibes is Too Much, forgive me. Either way, I’m very excited to talk to you about Barbie. I’m not sure this makes it into my top 10 for the year, but it’s almost certainly the 2023 film I’ve watched the most, and I think it’s a total delight with as much on its mind as any of Greta Gerwig’s previous films, albeit in a very different key from Lady Bird and Little Women. I’d say more, but I don’t want to start our chat with a three-paragraph monologue. So, Mark, what’s keeping you from feeling the Kenergy?...

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The CDG loves "Barbie" pink but doesn't care for "The Color Purple"

by Cláudio Alves

Don't be sad, Mr. WONKA. Better luck next time.

Once upon a time, the Costume Designers Guild differed from the Academy on the regular. It wasn't even that long ago when three of the Oscar nominees got nothing from their guild, including winner Jacqueline Durran for Little Women. However, since that year, every Academy lineup has been entirely made from CDG-honored titles. It's hard to tell if the trend will continue, but, at the very least, one can surmise that the absence of a film indicates a lack of broad industry support. So, it's bad news for Wonka and The Color Purple. In the former's case, it's especially galling when you notice it was beaten by such critically lambasted projects as Disney's Haunted Mansion and the first Rebel Moon movie.

From Barbie pink to Crown gold, let's explore the complete list of nominations…

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Best Costume Design is all about Big Hats

by Cláudio Alves

It's always interesting to find links between otherwise disconnected pictures, whether in the context of a film festival or just the calendar year. Sometimes, the awards season can suggest interesting threads uniting films by virtue of competition-born comparison. Note that one need not be very intellectual about this, and it's always good to have some fun about the race. This year, for example, I couldn't help but notice how three of our likely nomination leaders are bedecked in exuberant millinery, with Killers of the Flower Moon taking the cake as 2023's best hat movie. Or, at the very least, 2023's most hats movie.

And, as we all know, when it comes to the Academy, "most" often trumps "best." Not that Jacqueline West is locked to win Best Costume Design for the Scorsese movie. After all, even in hat terms alone, there's stiff competition from Barbie and Oppenheimer…

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Jacqueline Durran: From Kubrick to Barbie

by Cláudio Alves

Two-time Academy Award winner Jacqueline Durran is undoubtedly on the path to another Oscar nomination, maybe even a third victory. The British costume designer brought the pink paradise of Barbie to life, delighting audiences with a mixture of archival recreations sized-up from doll scale and original creations in line with Greta Gerwig's reality-hopping narrative. The movie is a delight for costume lovers everywhere as soon as its first scene when it contrasts the graphic modernity of the 1959 swimsuit-clad Barbie with the attire of midcentury girlhood, their look defined - perchance shackled - by domestic aspiration. Then comes a series of classic Mattel outfits, a flurry of rosiness, and our welcome to BarbieLand. It's a colorful explosion of femininity as understood by kids' imaginations... 

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Review: Come on, "Barbie," let's go party!

by Cláudio Alves

What does it mean to sell out? Some would decry Greta Gerwig's move from mid-budget indies to big studio fare as a modern example. This line of thought posits the director's fourth film, Barbie, as capitulation to the tyranny of big bucks, no more than a glorified toy commercial for "vacuous, hypersexualized dolls." But when you're actually watching Gerwig's movie, it's difficult to take the pink oddity as proof evident of any sacrifice of vision or integrity for the sake of profit. Barbie's too ambitious a creation - in terms of text, tone, performance, audiovisual stylings galore - to support such dismissive readings.

From beginning to end, the summer's biggest comedy bursts at the seams with ideas, saturated with the clear intent of a creative mind given free rein. It glows with the kind of resources seldomly bestowed upon women directors. That doesn't mean the picture's perfect, exempt from criticism, or its enthusiasm is without drawbacks. But, even if Gerwig can't quite have her cake and eat it too, she manages to share a personal, goofy, deeply idiosyncratic proto-existentialist dream with her audience. Better yet, she does it with the attitude of a kid, their favorite toy in hand, eyes widening at the playtime possibilities before them…

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