Some filmmakers arrive at a franchise. Others earn one.

Greta Gerwig's career has moved with a logic that only becomes clear in retrospect: from Sacramento bedrooms to Alcott's Massachusetts to a Malibu dreamhouse constructed around a plastic icon. Each project added scale. Each kept the precision that made her debut register as something beyond the coming-of-age genre.

The question now is what she does with inherited mythology. CS Lewis's Narnia has existed on screen in one prior theatrical form: a 2005 film that prioritized grandeur over interiority. Gerwig's version starts earlier in the timeline, with the creation of the world itself.

Four films follow. Two trace her path. One marks the franchise's starting point. One closes the list.