Greta Gerwig’s film, “Barbie,” has experienced enormous success at the global box office, breaking numerous records and surpassing the $1 billion mark in just over two weeks. However, the film has not resonated with audiences in South Korea. Some experts attribute this to cultural differences, particularly the film’s feminist messaging.
According to the Korean Film Council, “Barbie” only reached eighth place at the box office in Korea during the August 4-6 weekend, grossing $273,414 with a meager 1.2 percent advance ticket sales rate. In comparison, Christopher Nolan’s “Oppenheimer,” the other half of the “Barbenheimer” juggernaut, achieved a 35.8 percent advance ticket sales rate. “Barbie” has sold a total of 518,172 tickets since its release on July 19, resulting in a gross of $3.8 million. In contrast, “Mission: Impossible — Dead Reckoning Part One” sold 3.8 million tickets just a week earlier.
Warner Bros. was aware that “Barbie” would face challenges in South Korea and other parts of Asia, which have underindexed compared to other regions. However, the film experienced a slight resurgence in China after Chinese feminists flocked to see it and urged others to do the same. Warner Bros. hopes this positive reception in China will bode well for the film’s release in Japan on August 11. Nonetheless, in South Korea, a country where gender disparity and anti-feminist backlash are prevalent, the film’s focus on female empowerment may have provoked discomfort and fatigue among audiences.
The sensitive nature of gender discussions in Korea, particularly among the younger generation, may explain the lackluster response to “Barbie.” South Korea ranked 99th out of 146 countries in the Organization for Economic Cooperation and Development’s Global Gender Gap Report last year. The gender divide became even more prominent during the 2022 presidential election, where Yoon Suk-yeol, from the conservative People Power party, won by promising to abolish the Ministry of Gender Equality and Family. The departure of women’s economic advancement and mandatory military service for young men have also contributed to the anti-feminist backlash.
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Some argue that the film’s poor performance in South Korea may be due to its feminist undertones not being adequately highlighted in its local marketing campaign. The film’s marketers may have been too cautious around the controversial subject, leaving potential audiences unaware of the film’s content. On the film review site Naver, gender-specific reviews expressed surprise at the feminist subtext. Male viewers gave the film an average score of 5.99 out of 10, while female viewers gave it a much higher score of 9.27.
Apart from marketing and gender issues, others believe that the film’s lack of success in South Korea is purely cultural, as Barbie is not seen as an iconic female figure in the country. The absence of a strong fan base for Barbie may have contributed to the film’s underperformance. Furthermore, the culturally specific humor and references may not have translated well for Korean audiences.
Although Korean movies with female leads often struggle at the box office, there are exceptions. The Korean film “Smugglers,” which premiered on July 26, has sold an impressive 3.5 million tickets. The film tells the story of a group of women involved in a smuggling scheme and benefited from its female-centric storyline. However, in general, people have become more selective when choosing movies to watch, and there is no longer a guarantee of success for tentpole films.
In conclusion, Greta Gerwig’s “Barbie” has achieved global box office success but has failed to connect with audiences in South Korea due to cultural differences, the sensitive nature of gender discussions, and the absence of a strong fan base for Barbie. The film’s underperformance serves as a reminder that understanding local culture and tailoring marketing campaigns accordingly is essential for success in international markets.
