Nathan Lee

Through the looking glass: Greta Gerwig’s Barbie is something smarter than girlboss fantasy or canny corporate sellout—it’s a grappling, rather, with the fundamental ways in which we represent and relate to reality

Dig it: the happenings at Copenhagen’s Rigshospitalet remain as strange and bitingly funny as ever in The Kingdom Exodus, the anticipated third season of Lars von Trier’s series

Thin crust: Paul Thomas Anderson’s highly anticipated (and widely feted) Licorice Pizza leaves an aftertaste both sweet and sour

Get weird: Leos Carax’s Annette is a deep dive into the irreducible strangeness of the musical form

Jennifer Kent is a genuine filmmaker of ideas, but The Nightingale is clipped by problems of form

(Walter Hill, USA, Saban Films, Opens April 7)

(Francis Ford Coppola, U.S./Argentina, 2009)

Clothes embody ideas in Bertrand Bonello’s Saint Laurent, a shifting look at the designer and his work

(Erick Zonca, France, 2008)

(R.J. Cutler, U.S., 2009)

(David Cronenberg, Canada/Germany, 2014)

(Criterion, $39.95)

(James Franco & Travis Mathews, U.S., 2013)

Toward a theory of found-footage horror in general and the Paranormal Activity cycle in particular

The heartache of a lopsided long-term relationship

(Spike Lee, U.S., 2004)

(Catherine Breillat, France, 2004)

Nathan Lee chats with Paul Pfeiffer about Empire—the ultimate bug movie

A stealth sequel to In the Mood for Love, the epic remix that is 2046 is the summation of Wong Kar-Wai's lyrical melancholia

(Craig Brewer, U.S., 2007)