Is Greta Gerwig an Essentialist? Exploring Her Approach to StorytellingIs Greta Gerwig an Essentialist? Exploring Her Approach to Storytelling

What Is Essentialism?

In philosophical terms, essentialism refers to the idea that things have a set of characteristics that make them what they are. In a human context, essentialism suggests that there are inherent traits—often tied to gender, race, or culture—that define who we are. Essentialist storytelling, then, is the kind that assumes characters’ actions and personalities are determined by some intrinsic quality, rather than shaped by external influences or personal growth.

In contrast, a more existential or constructivist approach to storytelling suggests that identity is fluid, formed by personal choices, societal forces, and context rather than a preordained nature. When we ask if Gerwig is an essentialist, we’re asking if her characters are defined by inherent qualities or if they are more shaped by their environments and the choices they make.

Greta Gerwig and Female Identity

One of the major themes running through Gerwig’s work is the exploration of female identity. Lady Bird (2017) is a coming-of-age story about a young woman finding herself amidst the confusion of adolescence, while Little Women (2019) is a literary adaptation that emphasizes female agency and the tension between individual desires and societal expectations.

In Lady Bird, the protagonist Christine, who insists on being called “Lady Bird,” appears to be a study in essentialism at first glance. Her strong will and rebellious attitude seem to be integral to her character from the start. However, as the film unfolds, it becomes clear that her identity is in flux, shaped by her experiences, relationships, and, crucially, her environment. Lady Bird’s desires—to escape her hometown, and to be independent—are not presented as preordained traits but as responses to the world around her. Her arc is one of growth and change, not the revelation of some innate, unchanging essence.

Similarly, in Little Women, Gerwig chooses to frame the narrative around Jo March, who has often been seen as a quintessential “essentialist” character: a headstrong tomboy whose desire to become a writer seems rooted in her very nature. But Gerwig’s adaptation complicates this notion. She gives more weight to the external pressures that Jo faces—her financial struggles, the expectations placed upon her as a woman, and the tension between her ambition and her emotional life. By emphasizing these factors, Gerwig portrays Jo not as a character defined by her essential qualities, but as one shaped by her circumstances and the choices she must make within them.

The Role of Choice in Gerwig’s Films

Gerwig’s films consistently highlight the role of choice in shaping identity, rather than suggesting that identity is fixed or essential. For example, in Lady Bird, the protagonist’s decision to attend college on the East Coast—far from her family and her familiar life in Sacramento—is presented as a pivotal moment of self-determination. This choice is not portrayed as inevitable or predestined; rather, it is the result of a series of personal and social influences.

In Little Women, Gerwig takes an unconventional approach to Louisa May Alcott’s original text by playing with time and perspective, underscoring the idea that identity is not something fixed in time, but rather something that is constantly evolving. Jo’s ultimate decision to marry—while still holding onto her creative ambitions—is presented not as a betrayal of her essential self, but as a compromise forged by the constraints of her reality.

Gerwig’s treatment of choice reaches another level in Barbie (2023), a film that at first might seem to hinge on the essentialist portrayal of femininity. The character of Barbie, the cultural icon, is often criticized for embodying a one-dimensional, essentialist vision of womanhood: thin, blonde, beautiful, and passive. However, Gerwig flips this notion on its head by giving Barbie agency, allowing her to question her existence and make choices about who she wants to be. In doing so, Gerwig demonstrates that even in a film as seemingly whimsical as Barbie, identity is not static or essential, but dynamic and subject to change.

Challenging Essentialist Narratives

Greta Gerwig doesn’t just complicate essentialism through the characters she writes and directs—she actively challenges it. By focusing on the personal growth of her characters and the forces that shape their lives, Gerwig resists the idea that people are defined by unchanging, inherent traits.

In Lady Bird, Christine’s struggle with her identity as “Lady Bird” versus Christine is central to the narrative. This dichotomy is not framed as a struggle between her “true self” and a false persona but as part of the messy, evolving process of growing up. Similarly, in Little Women, Gerwig’s depiction of the March sisters emphasizes the fluidity of identity, particularly as it relates to gender roles and societal expectations. None of the sisters is defined by any one characteristic; instead, they evolve as individuals, shaped by their personal choices and the circumstances around them.

Even in Barbie, a film that could easily have veered into essentialism, Gerwig subverts the traditional narrative. Barbie’s existential crisis is a metaphor for the idea that identity is something that can—and should—be questioned, challenged, and ultimately chosen. The film’s ending, where Barbie chooses to leave behind her “perfect” plastic world to discover who she is, underscores Gerwig’s belief in the importance of personal agency and the rejection of essentialism.

Conclusion: A Rejection of Essentialism

So, is Greta Gerwig an essentialist? Based on her body of work, the answer is a resounding no. Gerwig’s films consistently reject the notion that identity is fixed or predetermined. Instead, she focuses on characters who evolve, grow, and make choices in response to their circumstances and desires. Whether it’s Lady Bird leaving her hometown, Jo March balancing her ambitions with societal pressures, or Barbie questioning her existence, Gerwig’s characters are shaped not by some intrinsic essence, but by the complexities of their lives and the choices they make.