Being one of the greatest (and one of my favorite) directors of all time, a new Paul Thomas Anderson film is an instant “day one” cinematic event. From Boogie Nights to There Will Be Blood, having a decades-long résumé of iconic, thrilling, and Oscar-worthy films will do that. His latest feature, One Battle After Another, features his trademark all-star cast, exquisite cinematic craft, escalating tension, and quirky oddball humor.
But most notably, the story of which he focuses on this time is so eerily relevant to the current turmoil of American society, that it’s assuredly to be his most talked about film, within the realms of both cinematic and political discourse (the latter of which I fear and forsee being a fascinating and insufferable environment).
Serving as a loose adaptation of Thomas Pynchon’s 1990 novel Vineland, there are so many themes and layers to One Battle After Another that feel like a jolt to the system. Like you’re watching a weirdly funny, strange and thrilling cinematic representation of what we’re seeing on the news and on our phones every day in America. It’s a funhouse mirror. The plight of Hispanic immigrants. The militarization law enforcement. Organized resistance. Surging white supremacy controlled by the shadowy, rich elite.
All these elements mesh together, via both absurdist humor and earnest characterization, that yields some profound thought processing, but also some moments/tone that were so offbeat that to the point of being counterproductive to the effectiveness of the storytelling.
Craft and performance-wise, One Battle After Another is one of the best of the year. Astounding performance from Leonardo DiCaprio, who really shines when he’s at his most vulnerable and chaotic. Chase Infiniti is going to be a superstar, no doubt about it. Absurdly menacing Sean Penn. The endearing command of Benicio Del Toro. The fierce power of Teyana Taylor. This film may well feature the best pound-for-pound ensemble of the year.
And now to, my favorite part of the film, and what I gravitate toward most with movies: audiovisual craft. Promoting the film’s visual canvass via VistaVision 35mm was a brilliant aesthtic and marketing choice, because this film is absolutely stunning to look at. The cinematography is rich and deep with texture. The authentic realism of the imagery oozes off the screen. And PTA does some remarkable camerawork; specifically in car chase in the third act. I was simultaneously queasy and mesmerized. In the best way. I don’t know if One Battle After Another is PTA’s best film. Personally,
I prefer the grandiose energy of early PTA (Boogie Nights, Magnolia). But modern, evolved PTA, is still one of the most powerful, singular voices in cinema. Continuing to contribute meaningful cinematic language in a way that thrills, while speaking to the complexity of the human condition.
See it in theaters. See it on film. See it with friends. Talk about it after.
