“Barbie”
The cinematography of “Barbie” is everything. It is as varied and as joyous as all the cinematic inspirations coursing through the Greta Gerwig film’s DNA and as much of a technical challenge to pull off as anything coated in prestige instead of pink. Cinematographer Rodrigo Prieto gets to do his Terrence Malick/the living miracle of trees thing when Barbie (Margot Robbie) goes to The Real World and meets Ann Roth. But the camera in Barbie Land treats life in plastic with the same color-dense artistry and wonder that make Jacques Demy films like stepping into a painting, only more. This is to say nothing of the multiple musical numbers, Tati-esque chases, and an in-between world of both white void and riotous color that would make The Archers proud. The most wonderful and impressive part, though, is that all of the film’s different looks, references, and approaches to its characters fit in the same box. That is down to Prieto, who steadily and beautifully expands the film’s visual language as Barbie experiences a growing awareness of humanity (and Ken). —Sarah Shachat