Paul Thomas Anderson’s capering clash between a demented repressive regime and ragtag freedom fighters is both cartoonish and deadly serious – and perfectly tuned to its times
Viva la revolution and don’t forget your password, your pronouns, your plaid gown and your gun. One Battle After Another, from writer-director Paul Thomas Anderson, is the brawling rebel insider of this year’s Oscar race; a state-of-the-nation Hollywood spectacular that feels as disunited and unstable as the country it depicts. The film hates America and it loves it, too. It’s on the side of the angels even when it’s not quite sure who they are. It lights a candle to curse the darkness, and prays to God it hasn’t picked up a stick of dynamite by mistake.
“We have to stay out of politics,” Wim Wenders advised his fellow directors at last month’s Berlin film festival, and yet One Battle After Another is political to its fingertips, hard-wired to the here and now and perfectly anticipating the tenor of Donald Trump’s second term. Leonardo DiCaprio plays Bob, the one-time firebrand turned burnt-out stoner, who belatedly hauls himself off the couch when his daughter Willa (Chase Infiniti) is captured. Freely adapted from Thomas Pynchon’s 1990 novel Vineland, the film updates the book’s jaundiced post-60s hangover for the ICE-age 2020s as the plot careens from the migrant detention camp to the sanctuary city to uncover a Christian Nationalist cell within the US federal government. The self-styled “Christmas Adventurers” are on a heaven-sent mission to make America great again. They say, “If you want to save the planet, you always start with immigration.”
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