Paul Thomas Anderson, the celebrated auteur behind such films as Magnolia, There Will Be Blood, and Phantom Thread, is no stranger to cinematic risk-taking. But with his latest project, One Battle After Another, opening in theaters this fall, Anderson has embarked on perhaps his boldest—and most expensive—venture yet. According to Warner Bros., the studio backing the film, the production budget soared to an eye-popping $130 to $170 million, a figure that dwarfs Anderson’s previous undertakings and marks his first foray into the territory of the modern blockbuster.
The film, which has been described as an action/black comedy/thriller hybrid, stars Leonardo DiCaprio as Bob Ferguson—a former radical now wrestling with his legacy and his relationship with his daughter, Willa, played by newcomer Chase Infiniti. Teyana Taylor, Sean Penn, Benicio del Toro, and Regina Hall round out a formidable ensemble cast, with each actor bringing their own unique energy to Anderson’s sprawling, anarchic vision.
Warner Bros. has gone all-in on marketing One Battle After Another as a mainstream event film, but those familiar with Anderson’s oeuvre know that he is anything but conventional. As Collider points out, the film is being promoted as a familiar action-adventure and war epic, yet Anderson’s fingerprints—his subversive, challenging, and often chaotic storytelling—are evident throughout. Remarkably, Anderson maintained complete creative control, even as the studio poured resources into the project and positioned it for a major fall release.
In a move that underscores his cinephile bona fides, Anderson curated a list of films that influenced One Battle After Another, sharing his recommendations with the public ahead of the film’s release. The list is eclectic: The Battle of Algiers, The French Connection, The Searchers, Midnight Run, and Sidney Lumet’s 1988 drama Running on Empty. Each, in its own way, hints at the tonal and thematic ambitions of Anderson’s new film. Running on Empty, in particular, serves as a touchstone—its story of ex-revolutionaries living as fugitives and the coming-of-age struggles of their son resonates with the generational angst and political turmoil at the heart of Anderson’s narrative.
According to That Shelf, One Battle After Another draws heavily from the anarchic spirit of Thomas Pynchon’s novels, especially Vineland and The Crying of Lot 49. The film’s central group of revolutionaries, the French 75, are portrayed as ideologically ambiguous and strategically clueless, more interested in chaos than in any coherent agenda. DiCaprio’s Bob Ferguson is joined by Perfidia Beverly Hills (Teyana Taylor), a fiery revolutionary whose passion for upheaval is matched only by her physical intensity. When Perfidia goes on the run, leaving Bob with their infant daughter, the story jumps forward to find Willa as a teenager, navigating life with her eccentric, stoner father.
Sean Penn’s Colonel Steven J. Lockjaw serves as the film’s antagonist—a jingoistic, almost cartoonish military man whose pursuit of the French 75 is driven by both revenge and personal obsession. As That Shelf notes, Penn’s performance is a feat of physical comedy, providing a perfect foil for DiCaprio’s chaotic, ideology-free revolutionary. The supporting cast includes Benicio del Toro as Sensei Sergio, Willa’s martial arts teacher and surrogate father figure, and Regina Hall as Deandra, a calm and steady ally in the midst of the film’s madness.
The action set pieces are as ambitious as the film’s budget would suggest. High-speed car chases, daring stunts, and bravura cinematography by Matthew Bauman (with editing by Andy Jurgensen) give One Battle After Another a kinetic, adrenaline-fueled energy. The film was shot on location in San Diego County using VistaVision, and Anderson has encouraged audiences to seek out special formats for the best possible viewing experience. The soundtrack, composed by frequent Anderson collaborator Jonny Greenwood, and costume designs by Oscar-winner Colleen Atwood, further elevate the film’s technical polish.
Despite its blockbuster trappings, One Battle After Another remains unmistakably a Paul Thomas Anderson film. As Karen Gordon observes in her review for Original Cin, Anderson’s movies are known for their anxiety, stress, and “weirdo characters.” The new film is no different, blending action, drama, comedy, and social satire into a tense, unpredictable ride. “No one does anxiety and stress quite like PTA,” Gordon writes, likening the film’s narrative swings to a carnival ride—sometimes maddening, but always meticulously crafted and ultimately rewarding.
At its core, the film is about the relationship between a father and his daughter, set against a backdrop of sociopaths, narcissists, white supremacists, and violent political extremists. Anderson’s script, inspired by Pynchon’s anti-establishment sensibility, explores themes of love, legacy, and the consequences of radicalism. The dynamic between Bob and Willa, in particular, grounds the film’s wildest moments in genuine emotional stakes. Willa’s resilience and adaptability in the face of her father’s eccentricities—and the dangers that come with their past—provide a counterpoint to the chaos swirling around them.
Critics have already begun to debate whether One Battle After Another is Anderson’s best film. While such discussions may be premature, there is broad agreement that the film represents a significant evolution for the director. It is, as Gordon puts it, “his least cryptic film to date,” yet it retains the complexity and ambition that have defined Anderson’s career. The performances—particularly those of DiCaprio, Penn, Taylor, and Infiniti—have been singled out for praise, with some suggesting that the film could be a major contender in the upcoming awards season.
Anderson’s willingness to take risks, both narratively and financially, has resulted in a film that defies easy categorization. One Battle After Another is at once a maximalist spectacle and an intimate character study, a satirical takedown of modern America and a heartfelt exploration of familial bonds. It thumbs its nose at Hollywood’s risk aversion, offering a reminder that the most exhilarating cinema often comes from those willing to challenge the status quo—even if it means setting fire to a giant bag of studio cash.
As the fall movie season heats up, One Battle After Another stands out not only for its scale and ambition but also for its refusal to play by the rules. Whether it will resonate with mainstream audiences remains to be seen, but one thing is certain: Paul Thomas Anderson has delivered a film that demands to be seen—and talked about—for years to come.
