Disney's new adaptation of "Schneewittchen" (Snow White) comes with a massive price tag of approximately $270 million and an equally large share of controversy. This latest reimagining of the 1937 classic, which established Disney as a household name in animation, premiered in Hollywood on March 15, 2025, but with no fanfare. Typically, such high-profile events are buzzing with reporters eager for interviews, but journalists were notably absent from both this premiere and the European debut held three days earlier in a remote castle in Northern Spain. The decision to limit media presence appears directly tied to the mounting backlash the film has received throughout its production.
Rachel Zegler, the actress chosen to wear the mantle of the titular character, faced a wave of criticism for being cast as Schneewittchen due to her Latina heritage. Inspired by racist comments that surfaced since she was announced for the role in June 2021, she has been outspoken in defending herself. "Yes, I am Schneewittchen, no, I will not bleach my skin for the role," she boldly stated on Instagram, challenging those who claimed she did not fit the character's image of having skin as "white as snow."
Zegler explained that her character's name in this version connects to her survival during a snowstorm as a baby, thereby emphasizing resilience.
The controversy continued as Peter Dinklage, a prominent figure in advocating for representation of individuals with dwarfism, criticized the film for its decision to portray the classic characters as magical creatures rather than casting actors of restricted stature. In a candid episode on Marc Maron's podcast, he remarked, "It doesn't make sense to be progressive in one respect and yet still tell a regressive story about seven dwarfs who live together in a cave." This reaction prompted Disney to replace the dwarves with computer-generated characters, a controversial choice that marginalized opportunities for those within dwarf communities, leading to further discontent.
Perhaps the most politically charged aspect of this film surrounds Gal Gadot's role as the evil queen. The Israeli actress, who previously served in the Israeli military, has drawn ire from pro-Palestinian advocates due to her vocal support for Israel amid the ongoing Israeli-Palestinian conflict. Activists called for a boycott of the film following the first trailer’s release in 2024. Meanwhile, Zegler, while promoting the movie, posted the hashtag #FreePalestine on social media, which many interpreted as a subtle critique directed at her co-star. This juxtaposition of political views further complicates audience reception.
The film's release faced additional obstacles; the Hollywood premiere was notably understated, described as a small afternoon event devoid of red-carpet glamor, sparking speculation about Disney's strategy in light of the polarizing climate surrounding the production. At a time when Disney generally thrives on buzz and celebrity attendance, this film arrived with less pizzazz, igniting discussions about the company's internal handling of criticism.
As critics began their reviews, the reactions were mixed at best. The Times condemned the film as an instance of "cultural desecration," warning potential viewers to bring a "Kotztüte" (vomit bag). The Guardian criticized it for introducing themes described as exhausting and pseudo-progressive. The Wall Street Journal furiously claimed the story was "so dumb that I fell asleep," while Vulture lamented the film's "shrill and ugly" execution with melodies that felt bland.
Yet, amidst the criticism, there remained a hint of optimism. The Hollywood Reporter pointed to a "smart script" highlighting Schneewittchen's journey towards leadership role within a world still grappling with outdated narratives. With the changing dynamics of audience expectations and demographics, Disney’s latest foray into live-action adaptations appears at a crossroads.
"Schneewittchen" may have already begun to signify far more than just a film for Disney; it has become an emblem of cultural conversation around representation, race, and historical narratives. As the movie debuts to audiences in Germany this week, with a U.S. opening set for March 21, 2025, all eyes will be watching. Can this new take on a classic enchant the box office, or has the once-beloved fairytale turned into an all-too-modern cautionary tale?
