Larry expresses a painful concern for all four of the central characters in this lacerating, cynical look at coupling in the 21st century. And you'll note that Larry asks his question in a private lap-dance chamber in an upscale London strip club — probably not the most romantic place to find some honest-to-goodness intimacy.

"Closer" also stars Natalie Portman, Jude Law and Julia Roberts in this edgy look at relationships in modern London. Adapted by Patrick Marber from his 1997 hit play, "Closer" allows Nichols to revisit the in-your-face male-female wars he so perceptively examined in early films like "Who's Afraid of Virginia Woolf?" and "Carnal Knowledge."

A true ensemble piece, "Closer" uncovers the romances, betrayals, recriminations and attempts at reconciliation involving its central quartet.

As the film opens, Dan (Law) witnesses a distinctive young woman (Portman) being hit by car when she steps off a curb without looking. The woman who's eventually identified as Alice is momentarily knocked unconscious. She soon awakens, sees Dan standing above her and mouths the film's opening line, "Hello, stranger."

Thus is launched the theme of aloneness, even within a series of relationships. Each of the four characters will remain strangers to each other, even while they engage in lovemaking. Intimacy remains elusive. Dan next meets Larry through an Internet chat site; which means he also soon meets Larry's significant other, a photographer named Anna (Roberts). Actually, we've already met Anna and have seen her interact with Dan, because "Closer" skips willy-nilly over its timeline, offering a challenge for timid filmgoers who prefer straightforward, linear narratives. This is one of those times when flashbacks and flash-forwards offer insight and intrigue, and not just flash.

Each of the four actors has seldom if ever been better. Law's Dan is far less assured than his cocky cockney in the current "Alfie," while Roberts' Anna is guarded and devious. Portman has her first truly adult role (she's the woman lap-dancing for Larry in that London strip club), and she displays remarkable range and vulnerability, even though Alice's surprising reserves of strength make it likely she'll best survive the ins and outs of these London encounters.

And although Owen (of "King Arthur" and "Croupier") is lesser known than his three co-stars, he shines just as bright as Larry, who is frustrated because he knows there has to be more to love than what he's experienced so far.

"Closer" is coolly stylish and artfully directed. It's easily Nichols' best theatrical feature since the glory days of "The Graduate" and "Virginia Woolf." (I say theatrical, because Nichols' recent HBO films "Wit" and "Angels in America" are both fabulous.) "Closer" is refreshingly adult as it refuses to offer pat answers or rosy conclusions. The film is an emotional Rorschach test for viewers, suggesting a sadly diminishing role for affection and trust in modern relationships.

As Dan tells Anna, "What's so great about the truth? Try lying for a change — it's the currency of the world."