Wonder WomanDoes this mean the world is being robbed of great films, as brilliant creatives pivot to franchises? Or is this just the natural trajectory for ambitious young directors? Perhaps it would help to consider those who have defied the trend.
It is perhaps no coincidence that the majority of indie-to-blockbuster directors who have come under fire in recent years are women or people of colour. As with theWaller-Bridge hire, film studios are keen to get in representative and “diverse” voices to bring their projects into the present day. It has historically been easier for white men to obtain prominent sponsorship for their projects. Tarantino is neither indie darling nor blockbuster shill – he has always just been Tarantino.
Unlike these directors, Gerwig’s blockbuster breakthrough is in conjunction with a major corporation and a fat chunk of IP – but disregardBarbie is a concise fable about identity, belonging and ageing, with, true to Gerwig’s mumblecore roots, a focus on snappy dialogue over plot. It is entirely consistent with the films she has been making for years.Barbie is a figure that featured prominently in the childhoodsIt is also, yes, one of the few ways in which you can enjoy the luxury of a big budget – the kind of budget that lets you indulge your wildest creative whims.