At a time where the viewership of non-commercial cinema seems to be falling, Paul Thomas Anderson reminds us of how social, political and historical context can completely reshape a film’s meaning and perspective. In an era when politics seems to be going back, Anderson makes a daring attempt to give us One Battle After Another, an edge of your seat action drama, telling the story of ex-revolutionist Bob Ferguson (played by Leonardo DiCaprio) who is forced to come out of his retirement as a revolutionist to save the life of his only daughter.
Paul Thomas Anderson is a great example of Danny Boyle’s idea that “changing genres is a good idea, as it is a way of making yourself feel vulnerable again, getting back to innocence.” Anderson is infamously known for shifting genres throughout his career, from the absurd romantic comedy Punch Drunk Love, to the psychological drama The Master and to the periodic drama There will be Blood. Rather than limiting himself to a single style of genre, Anderson’s versatility allows him to reaffirm his status as an auteur, someone whose filmmaking style remains recognisable even as the genre changes. This adaptability distinguishes him as a filmmaker who prioritises storytelling over formula. Edgar Wright’s Last Night in Soho (2021) is another example of this idea. The film stands out from his rapid editing, hyper stylised narratives and resulted in becoming an under appreciated film of his. Similarly, One Battle After Another could be categorised alongside Anderson’s comedic collection such as Licorise Pizza and Boogie Nights. However, its strong political outlining sets it apart, revealing a depth that goes beyond the humour.
Another aspect that deserves appreciation is the film’s contemporary setting. Films that deals with political themes such as racism, sexism or homophobia are generally set in the past, typically between the 70s and 90s to provide the historic context. However, Anderson dared to challenge this idea by setting One Battle After Another in the present day reminding viewers that these issues happen even in today’s supposedly diverse and multicultural world. Through the depiction of the “Christmas Adventurers Club” he indirectly (or directly) reflects and mocks real world figures and ideologies, forcing audiences to inherit the uncomfortable truth that intolerance and prejudice are still breathing today.
The film being shot in VistaVision serves as one of the film’s most unique selling points, highlighting Paul Thomas Anderson’s appreciation for classic camera technology, an artistry that is overlooked in today’s age of digital convenience. Although I missed the chance to experience the film projected in VistaVision, I was fortunate enough to see it in 70mm IMAX, beautifully showcasing the film’s visual richness. Every frame of the film felt alive as well as amplifying the grandeur of the imagery as well as the emotional weight of the story on the giant screen.
If you were ask to ask me how many times I forgot that Leonardo DiCaprio was the film’s lead, I honestly couldn’t tell you, as it happened more than once. While some viewers may have criticised the casting of DiCaprio in a Paul Thomas Anderson comedy, due to his previous roles as the quintessential leading man in films like Titanic (1997) and The Wolf of Wall Street (2013), he proves the roles and responsibilities of his job on being an actor. DiCaprio fully commits to the role of Bob by embracing the physicality, costume and quirks of the character with surprising authenticity. Sean Penn delivers a performance designed to make audiences despise his character and he succeeds effortlessly. Meanwhile, Benicio Del Toro provides the complete opposite leaving you wishing he had more screen time. Yet it is Chase Infiniti who ultimately steals the show, establishing herself as one of the most exciting young talents to emerge in recent years.
What makes these characters more engaging is that every character in the film is deeply flawed. Bob, the film’s protagonist is shown as paranoid and overprotective of his daughter with his struggles towards drugs. On the other hand, the antagonist Steven Lockjaw carries the flaws of his own which is considered as spoilers. These imperfections makes the characters feel human and unpredictable turning the film into a puzzle. Anderson literally keeps the audiences on edge, making us wonder how such broken individuals can bring this story to a resolution.
Recently, news broke that the film had become a box office failure, as it failed to earn back its $200 million budget despite receiving widespread critical acclaim from critics and film enthusiasts. This then takes us back to my earlier point about the declining viewership of non-commercial cinema. It’s not just general movie goers, but even many self described film lovers whom now seem to prioritise high visual effects, entertainment and action sequences – and claim they do not want films to deal with serious social and political issues such as One Battle After Another.
This is negatively impacting independent and artistic cinema, preventing such films from performing well at the box office. As a result, their future releases risk receiving fewer screenings in major theatre chains, leading their films becoming unrecognised and inaccessible to viewers who might genuinely want to see them. What’s particularly surprising however, is that this trend is also affecting mainstream films with large budgets, impressive technical execution and a highly acclaimed cast like One Battle After Another and Mickey 17 (2025). Still, with awards season approaching, the film may have a second chance to gain recognition through increased viewership and potential nominations or wins.
Kishan Sothilingam is a London based freelance writer, film critic and content creator. He graduated with a degree in Media and Film and shares film content through essays, film reviews and content on TikTok. Kishan takes particular interest in indie and comedy films as well as taking part in stand up comedy.
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