- Date of Release: 26 September 2025
- Genre: Action, Crime, Dark, Drama, Thriller
- Language: English
- Watch On: Theatres Only
One Battle After Another
Introduction
In a scene at about the halfway mark in the new English film One Battle After Another, you see the character of Bob (Leonardo DiCaprio) sitting on his couch and watching the film ‘The Battle Of Algiers’. It is a fleeting scene but extremely important in the context of things given how Bob identifies himself as a revolutionary who is known for guerilla style of warfare and disruption. Bob is one of the members of The French 75, known to take on the pro-right wing fringes of the state, along with his partner Perfidia (Teyana Taylor), a seducive black woman with whom he shares a steamy affair. The specific duty of Bob is to set up diversionary explosives that double up as celebratory fireworks, almost a symbolism of what their military/revolutionary group stand for. In a scintillating opening sequence, you see the group carrying out a skirmish at the US-Mexico border, or more specifically the immigration center for minorities. And interestingly, the obstacle is in the form of a reactionary Col Steven Lockjaw (Sean Penn) whose erotic mannerisms give a clear indication of deriving s*xual excitement from the whole setup, while secretly craving for an affair with Perfidia. It is also interesting on how he is a slave to his ‘tool’, that is symbolic of how the right-ist movement is out of the control of the state – ofcourse…cough…on a lighter note!
Story & Screenplay
One of the important themes in One Battle After Another is with respect to the concept of White Supremacy that is associated with a handful of characters. It is Col. Lockjaw who fantasizes about making love to Perfidia, not out of his love for her – but simply to impose a s*xual dominance on the black race that Perfidia is a part of. It isn’t a coincidence given how aroused Lockjaw is, even when being on gunpoint – simply because it is his ‘lust’ for power that drives his character along the way while deriving a sadistic pleasure of dominance that defines his character. This concept of white supremacy also extends to a few other characters like Tim (John Hoogenakker) who is Lockjaw’s superior and is tasked to perform a ‘cleanup’ much like Lockjaw is. It is a clear demarcation between the two power centers – one obviously being in the minority – that engulfs this central theme of white supremacy. And looking at the current state of affairs in the US, this makes things in the film, even more relevant.
The dynamics between the characters play an important part too – Perfidia wants to use her own charm with Lockjaw to get her job done, even as her heart beats for Bob aka ‘Ghetto’ Pat. And yet you know that Perfidia is a woman of her choice, and believes in the freedom of her moment. In a scene, you see a heavily pregnant Perfidia callously firing an AK-47 – a symbolism of freedom in the non-conformist stance of her character. But this scene is also a reminder, on the generational tale of the film – Perfidia is not the first person to be marginalized by her state, and rest assured she won’t be the last too, with the same being felt by her daughter Willa (Chase Infiniti), years later. In that regard, the title of the film holds a little more relevance – on how the battle never ends, and it just leads from one battle to another.
This generational saga isn’t without the tonal fusion of humour too, even as the drama takes a 16 year old time leap. It is Paul Thomas Anderson going all out in his new-found Anurag Kashyap avatar, even as you see Bob roaming on the streets in a night gown, without remembering the code-word that would direct him to the rendezvous point. A simple statement on the lines of ‘What Time Is It?’ is met with baffling responses, and a hilarious intake of humour that is essentially dark but going against the run of play in the narrative (in a good way). It is almoat reminiscent of the police station sequence in Anurag Kashyap’s Ugly (2015), or the ‘Chaabi Kahaan Hai’ reference from Gangs Of Wasseypur (2012). Even Bob’s tryst with Willa’s sensei (Benicio del Toro) has stronger tones of comedy, particularly in a sequence when Bob finds himself on the phone – just like a customer care service that plays on your patience. It is hilarious and you’ll have to watch it to enjoy it!
There is an interesting conflict with regards to the identity of Willa – a mixed breed child, even while having to face a dilemma over her father’s identity. She is essentially the perfect middle-ground between the conflict of the left and the right – but given the extremities of the latter, she isn’t considered to be one of them. This holds true even for someone like Lockjaw who is visibly conflicted about killing his ‘supposed’ daughter but unable to do so – thereby hiring a contract killer for the same. In the midst of all of this, there is a dreamy car-chase sequence, a beautifully staged three-car wavy stretch, a mid-highway shootout, a thorny yet heartfelt father-daughter bond, and a hilarious inference (yet again) to the title of the film. It doesn’t end there but the broader picture tells you on how everyone remains a pawn doubling up as puppets in the clutches of the rich and powerful. It is a screenplay writing masterclass if ever there was one!
Dialogues, Music & Direction
The dialogues hold a unique distinction of incorporating the tonal fusion of drama and humour to a pitch perfection. So the film feels deliberately funny at certain instances, while also be mindful of the larger issue of power and the anti-establishment activities that it wishes to convey through the lines. The texture is prevalent and that itself is very unique. The BGM is resounding particularly in moments of angst and excitement, when the filmmaker wishes the viewers to focus on a particular integration in a scene. And this automatically elevates the scene even when it has immersed the viewers in the narrative. The cinematography is tremendous here – featuring frames that stand out and will be discussed for years. In a scene, you see a character donning an AK-47, only for the camera to pan into her face riddled with pain. In another, you see a magical car chase sequence featuring three cars in a wavy road, that adds texture and unpredictability to the drama. These are fascinating creative choices that do their bit in contributing to the unwavering focus that the film exhibits through its proceedings. The editing pattern infuses a sense of humour while seamlessly accounting for time leaps in the narrative.
Director Paul Thomas Anderson may just have delivered a modern day masterpiece – simply because he caters to a sensitive subject in the most complex approach possible. This approach could easily have backfired with critics like me pointing out the tonal inconsistencies in the drama. But the veteran holds an unflinching control on the narrative to retain the texture of the drama during its seamless genre transitions in the midst of some exciting world building and characterization that truly hit the bullseye! Once a legend, always a legend!
Performances
The performances are outstanding by the members of the ensemble cast. John Hoogenakker as Tim has his moments to shine as a reactionary White supremist guy, contributing to pivotal exciting moments in the film. Teyana Taylor as Perfidia manages to charm and impress with her seductive but restrained act that reeks of intensity and assertiveness on her part, making her a strong character to reckon with. Benicio del Toro as Sergio St. Carlos is hilarious to the core, using his dead-pan expressions to great effect in the narrative and leaving a lasting impression. Chase Infiniti as Willa has a great screen presence and she brings out the conflict within her character wonderfully through some superb expressions and eyes that speak a thousand words.
Sean Penn as the white supremist character Col. Steven Lockjaw is in top form here – using his creepy expressions to portray an image of an imminently punchable antagonist while lacing his character with bouts of humour. His trudges and his mannerisms are to die for in a performance that is brilliant to the core. Leonardo DiCaprio as Bob aka Ghetto Pat is tremendous to witness here. Here is a performer who always gets into the skin of his character while surrendering to the vision of the filmmaker seamlessly. As Bob, Leo is goofy and disoriented while completely committing to his character, something where he is able to extract fruitful bouts of humour along the way despite the core of his character being emotional. He is excellent and how in the film!
Conclusion
One Battle After Another is a deeply political drama packaged in a tonal fusion of humour in a Paul Thomas Anderson Classic of the highest order! It is humourous and poignant while presenting a drama that absolutely hits it out of the park! Jeez people – a great weekend is coming your way, first with Homebound and then with this – two of the best films of the year releasing on the same weekend! Available in a theatre near you, and Highly Highly Recommended!