Meanwhile, Barbie (Margot Robbie) stands before the (all-male) Mattel board of directors, demanding to speak to the CEO, who Barbie assumes must be female. We’re in the wake of World War II and Oppenheimer begs Truman to help him unring the bell of the atom bomb that has begun the global nuclear arms race. In a scene that seems to draw directly from history, Oppenheimer (Cillian Murphy) sits in the Oval Office pleading with then-President Harry S. Because these two blockbuster films opened the same weekend, and because so many of us decided to watch them back-to-back, Barbie and Oppenheimer became unlikely dance partners, setting up strange and poignant cinematic juxtapositions. But the magic of Barbenheimer is that the whole is perhaps even greater than the sum of its parts. Both films vastly overperformed industry expectations, morphing Barbenheimer from a joke into a celebration of the power of cinematic stories.īoth Barbie and Oppenheimer are terrific films in their own rights each has already launched a thousand think-pieces. Barbie debuted at $155 million, the largest opening weekend ever for a female director, while Oppenheimer pulled in $80.5 million - an almost unbelievable sum for a bleak, 3-hour, R-rated biopic. Countless more broke the five hours of film up over multiple days, delivering an historic weekend box office. My partner and I were some of the more than 200,000 moviegoers who did a same-day double feature. Both films ultimately move beyond the myth of the single creator.īut then something beautiful happened: People decided to go see both. Robert Oppenheimer, the father of the atomic bomb. The other was Christopher Nolan’s latest, a three-hour biopic about J. One was Greta Gerwig’s Barbie, a day-glo feminist celebration of the world’s most popular doll.
The portmanteau began as a joke: “Barbenheimer,” the megaplex mega-weekend that saw the premier of two highly anticipated films that couldn’t have been more different.
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