One Battle After Another (2025)

“One Battle After Another” stars Leonardo DiCaprio, Sean Penn, Benicio del Toro, Regina Hall, Teyana Taylor, and Chase Infiniti.  Released on September 26, 2025, the film has an ex-revolutionary coming out of hiding to rescue his daughter.

The film was written and directed by Paul Thomas Anderson, who also directed films such as “Boogie Nights”, “Punch-Drunk Love”, “There Will Be Blood”, “Phantom Thread”, and “Licorice Pizza”.  It is loosely based on the 1990 novel Vineland by Thomas Pynchon.  With awards season underway, there’s no doubt that my mind is focused on the potential candidates vying for the coveted gold.  While some earlier films have already sparked discussions about their possible nominations, it’s typically during the fall that the competition truly intensifies, much like the battle between revolutionaries and their opponents.  Speaking of which, I am kicking off my participation in this year’s awards season by diving into the latest film from Paul Thomas Anderson, which has been generating fantastic buzz since last week.  Considering the director’s previous works, it’s no surprise that this action thriller would be good, but I didn’t expect it to be this good.  With that said, let’s delve into this fight for freedom and see if it’s worthy of such enthusiastic word-of-mouth.

The story follows “Ghetto” Pat Calhoun (DiCaprio), a member of a far-left revolutionary group called the French 75.  As the group engages in various political attacks, Pat and his lover, Perfidia Beverly Hills (Taylor), welcome their daughter, Charlene (Infiniti), into their lives.  However, Perfidia’s latest mission goes awry, forcing the team to go their separate ways, with Pat and Charlene adopting new identities as Bob and Willa Ferguson to start anew.  Years later, Pat’s fresh start is threatened when a corrupt military official, Steven J. Lockjaw (Penn), and his soldiers initiate a search to abduct Charlene as an act of revenge.  As a result, Pat teams up with Willa’s sensei, Sergio St. Carlos (del Toro), a leader within the immigrant community, to launch a daring rescue mission to retrieve her.

This may come as a shock to many film enthusiasts, but I haven’t had much experience with Paul Thomas Anderson’s work recently.  I’ve heard plenty of great things about his past films, but for some reason, I just never found the right mindset or time to watch them.  The only movie I’ve seen from this esteemed filmmaker is “Phantom Thread” from 2017, which I found pretty impressive in terms of the filmmaking craft and Daniel Day-Lewis’s performance.  However, its slow-paced narrative made me reluctant to revisit it in the near future.  Thankfully, his latest film encouraged me to give his vision another chance, not only because he ventured into a different genre beyond psychological drama but also due to its star-studded cast, including DiCaprio.  Yet, I still held onto my concerns regarding its execution, despite the overwhelming praise it garnered.

With the considerable acclaim surrounding this film, it’s tempting to categorize it in one of two ways.  It could be either a masterpiece on par with Anderson’s previous works or an overhyped project carried by its star-studded cast and renowned director.  Many films have gone down this path before, with some succeeding in meeting those expectations and beyond, leaving me to ponder whether “One Battle After Another” will follow suit, especially with its relatable political undertones.  I intended to discover the answer sooner, but given its two-and-a-half-hour duration and my schedule, I wound up saving this highly anticipated thriller for last.  Fortunately, I managed to avoid spoilers while awaiting the opportunity to finally view it.  Now that I have had this experience, was it worth the anticipation?  Honestly, yes.  I will admit that I was concerned I wouldn’t love it as much as everyone else, given its political themes and lengthy runtime.  However, Paul Thomas Anderson managed to gun down those doubts right off the bat with an invigorating and unexpectedly amusing epic that’s impressively rich in its cinematic craftsmanship and political satire.

“One Battle After Another” is a different beast for Paul Thomas Anderson.  The filmmaker is usually associated with comedies and psychological dramas, occasionally infused with crime and romance elements.  As someone who has only seen one of his films, I understand his bold approach to the genres, yet it didn’t fully capture my interest in everything else he’s done.  This film presented an opportunity for Anderson to attempt to convince me otherwise by coming out of his comfort zone.  Given Anderson’s background in dramas and the movie’s concept, this combination would’ve risked becoming overly commercialized compared to his more profound explorations of the human condition.  Surprisingly, this was not the case.  Paul Thomas Anderson’s signature style remained present in the film, particularly in its sublime panning shots and extended one-shot takes.  Yet, he harnessed these familiar elements to infuse the film with an energetic and engaging rhythm that lacks a single hint of exhaustion.

Undoubtedly, Anderson’s continued excellence as a filmmaker is particularly evident through his innovative approach to cinematography and editing.  The film was shot on 35 mm film using VistaVision cameras by Michael Bauman, who recently collaborated with Anderson on “Licorice Pizza”.  This format, which saw a resurgence with last year’s “The Brutalist”, proved its enduring cinematic appeal through this film’s breathtakingly authentic visuals.  Michael Bauman crafted some incredible shots with this format, capturing the immersive and awe-inspiring nature of its set pieces, especially in the third act.  If you ever want to feel the magic of cinema, “One Battle After Another” might just be the answer to your prayers.  In terms of editing, Andy Jurgensen deserves commendation for maintaining a seamless pace despite the film’s blockbuster-level length.  Although lengthy at first glance, Jurgensen’s adept transitions and pacing ensured it never felt drawn out, with the compelling plot and characters holding my attention throughout.  

However, Anderson’s true triumph was his ability to take his subtle elements seen in his other works and weave them into the film’s thrilling narrative and screwball aesthetics.  Rather than opting for a flashy, commercialized spectacle, Anderson delivered an energy that felt authentic and restrained while maintaining the dynamic thrills and suspense common in other action thrillers.  He didn’t need to go all out with the violence and big-budget effects to deliver its entertainment value.  All he ever needed to do was to provide the characters and suspenseful scenarios that were worthy of its fun narrative stakes and scope.  The third act is the best example of this approach, as it emphasizes its gripping sequence, enhanced by Bauman’s cinematography and Jurgensen’s editing.  Anderson’s direction was also artfully complemented by Jonny Greenwood’s impeccable musical score.  While the piano segments may seem unconventional for a thriller, the music's uniqueness ultimately elevated the intensity and even the comical nature of the characters’ actions.

You might wonder why I added the “screwball” part when I’m describing the film.  This was largely due to Anderson’s screenplay, which cleverly integrates contemporary political elements often seen in real life today.  Rather than reflecting these themes in a raw manner, the script employed a more satirical approach that examines issues like police-state America and white supremacy without straying into spoof territory.  These political elements can be challenging to execute, especially in today’s climate, but Anderson managed to find the right balance between political perspectives and satiric thrills.  Not only did it provide sharp humor that genuinely examines both political sides, but it’s also surprisingly hilarious, particularly in relation to Bob’s washed-up persona and Lockjaw’s sexual intentions.  More importantly, the script delivered one of the better father-daughter relationships that doesn’t require a lot of emotional manipulation, with Bob overcoming his paranoia and anxiety to improve himself for his self-reliant daughter, Willa.  While its political undertones may not resonate with everyone, Anderson’s script masterfully blended its bold thematic satire with traditional popcorn entertainment.

Another element that enhanced my enjoyment of the movie tremendously was its cast, demonstrating how an A-list ensemble and a skilled director can create cinematic synergy.  Leonardo DiCaprio was absolutely brilliant as a washed-up revolutionary determined to save his daughter.  As in his previous roles, DiCaprio possesses a knack for seamlessly embodying his character, blending dramatic depth with a charismatic, comical flair.  Bob’s struggles to remember the cryptic passwords were among the film’s highlights that made me appreciate DiCaprio even more as an actor.  Sean Penn also delivered an excellent performance, capturing the despicableness and obsessively evil traits of Steven J. Lockjaw with subtlety and intensity.  With how engaging Penn is, I would really hate to be hunted down by that military officer.  Chase Infiniti makes her film debut as Bob’s spirited daughter after starring in the limited series, “Presumed Innocent”.  I haven’t watched the series, but I could tell that she utilized her talents from that show to prove her potential as an up-and-coming actress.  She really knocked it out of the park with her performance, especially during her scene with Sean Penn’s character, which had me locked in throughout.  Benicio del Toro also delivered some solid moments as Sergio, and Regina Hall was pretty good as Deandra, one of the French 75 members.

Overall, “One Battle After Another” is an exceptionally entertaining and brilliantly satirical epic that’s worthy of battling alongside its remarkable talent.  Its political undertones and runtime may raise some concerns, especially in today’s climate, but Paul Thomas Anderson skillfully integrates these elements into the suspenseful thrills and character-driven moments we expect from the genre.  The result is a fantastic showcase of cinematic artistry, popcorn-worthy entertainment, and satirical humor that ignites a revolution of its own.  Thanks to its stellar cast, Anderson’s seamless blend of satire and suspense, striking cinematography, and Jonny Greenwood’s captivating score, this film not only ranks as the best from Paul Thomas Anderson but also emerges as one of the finest movies of the year.  I know that final sentence may seem exaggerated, but I was really surprised at how great it was.  If you appreciate Anderson’s earlier works, there’s no doubt that you’ll thoroughly enjoy this one as well.     ​

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