Corinna Kelley
Contributing Writer
As we see more women behind the camera in Hollywood, it begs the question: are critiques of women’s films rooted in genuine artistic analysis and their impact on society, or are they influenced by deep-seated biases that undermine the credibility of women in the industry?
Recent films like “Barbie,” “Poor Things,” and “The Substance” have faced harsh criticism for challenging power dynamics, gender roles, and societal expectations. These films explore complex themes such as women’s individuality and the suppression of female autonomy, often provoking a backlash that questions their value. The question remains: are their messages overdone, or are these issues so ingrained in our culture that filmmakers must take dramatic approaches to make them visible?
“Barbie” follows Margot Robbie’s character as she navigates a journey of self-discovery in a world that challenges her identity. While some critique the film for not offering fresh takes on patriarchy and misogyny, “Barbie” provides an accessible entry point for young women; it simplifies complex issues and provides a sense of connection that is rare in theaters.The film’s “underwhelming” label, however, points to how films addressing societal issues must constantly seek radical novelty to be accepted. There is value in speaking to an audience that still needs to hear these messages.
Another critique — that “Barbie” is “a deeply anti-man movie” that paints all men as “idiots, bigots, or sad, pathetic losers” — misses the film’s intentional reversal of gender roles to critique patriarchy. By flipping the power dynamics, “Barbie” exemplifies our patriarchal society, highlighting how deeply ingrained male-female power inequalities are. While the portrayal of men as predatory and toxic might seem extreme, it mirrors the way women have been historically seen as secondary or accessories. The moment when Barbie tells Ken to find himself outside their relationship is key because it reflects how women are often reduced to being trophy wives or seen as extensions of the men they’re with, rather than individuals with their own agency. “Barbie” uses almost absurd societal roles in order to highlight unfairness in our current structure, not as a “cultural revenge vehicle designed to write men out of the story altogether.”
Next up, “Poor Things” follows Bella Baxter (Emma Stone), who embarks on surreal adventures to discover autonomy and the meaning of liberation. While some viewers were shocked by its “excessive and explicit sex scenes” and strong language, the film’s purpose is to unsettle and provoke discomfort. Bella’s time as a prostitute was also labeled “degrading” and exploitative, but such critiques miss the film’s aim to expose harsh realities behind its fantastical setting. This segment highlights the sex-work industry that society often tries to bury, giving voice and stories to those involved, as seen in Bella’s relationship with Toinette, a fellow sex-worker and her lover. Through Bella’s journey, the film opens vital conversations about female sexuality and the double standards that condemn women’s sexual freedom while excusing men.
Finally, “The Substance,” while still in theaters, has sparked a strong divide between its supporters and critics. In the film, Elisabeth Sparkle (Demi Moore) gets fired from her long career in Hollywood centering around fitness videos. Her distress leads her to impulsively take “the substance,” which causes a younger, seemingly perfect, version of herself to emerge from her, allowing her to temporarily live through this alternate, enhanced version. The film offers a gruesome take on the value of age and beauty in women when they no longer appeal to the male gaze, alongside criticizing the obvious sexualization of young bodies. Elisabeth represents the addictive desire to be young forever, literally splitting herself open for the validation of society, and she showcases a toxic dynamic between one’s body and mind in her relationship with Sue (the more “perfect” Elisabeth).
“The Substance” has faced criticism for its exploration of aging and beauty standards, with some dismissing its message as redundant or overly familiar. Similar to the critiques of “Barbie,” this film has been disregarded on the grounds that women are already aware of these issues, and that we have somehow moved on. However, just because these themes are widely known doesn’t diminish their relevance, especially given how deeply these ideals are internalized, even among those who supposedly know better. The film also faced backlash for its portrayal of Demi Moore in a role that some labeled “hagsploitation,” arguing that someone as conventionally beautiful as Moore shouldn’t play a character portrayed as aging or “ugly.” This criticism ironically reinforces the very standard it seeks to challenge — that aging women are inherently unattractive or undesirable.
Some critics further condemned Elisabeth’s character as “irrational,” claiming that the film depicts desperate women abandoning all rationality in pursuit of approval. This critique undermines the film’s central message; Elisabeth’s obsessive quest for youth and relevance is depicted as an addiction, with her painful transformation mirroring the extreme lengths to which individuals — particularly women — will go to maintain their beauty and social power. The substance itself serves as a metaphor for the normalization of cosmetic surgery in Los Angeles, a city where appearance is often seen as synonymous with worth. “The Substance” critiques the toxic self-worth we attach to beauty, making its exploration of aging and societal expectations all the more urgent in today’s cultural context.
Given the constant criticism of films centered on women, we must question the validity of their core messages and how they relate to our current world. Films like “Babylon” are praised for Brad Pitt’s dramatic ending, while Demi Moore’s role in “The Substance” is dismissed as “irrational.” “The Fly” is considered art, but “The Substance” is reduced to “blood, goo, and vomited boobs.” “Barbie” is labeled “surface-level” despite resonating with young girls, still grappling with the complex societal issues it presents. As noted, many women already know about many of these issues, and there are many resources to fight against our injustices. Despite progress, women’s issues are still underappreciated, and the creative expression of female autonomy will never be redundant under patriarchy. Different takes on these age-old issues remain vital, as they offer fresh perspectives that continue to resonate with current audiences.