Leonardo DiCaprio delivers one of the best performances of his career as Bob Ferguson, a former domestic terrorist in One Battle After Another. Photo: Warner Bros.
The art of creating an effective piece of political commentary can’t be understated.
For years, artworks, cartoons, music, TV shows and movies have been used by creatives to express their beliefs and views on the world’s most pressing issues.
For legendary director Paul Thomas Anderson (PTA) and his newest film, One Battle After Another, his topic of contention is US immigration and border enforcement.
One Battle After Another follows Bob, a man involved with a fictional domestic terrorist group known as The French 75, which is dedicated to freeing institutionalised immigrants on the US border.
Bob and his love interest, Perfidia, are self-described revolutionaries and are based on the border of Mexico and the US, who look to topple a regime they believe to be corrupt and oppressive.
When Perfida, one of the leaders of The French 75, gets arrested by pursuing militant Colonel Steven Lockjaw, she agrees to spill the names of her group in return for her own protection.
This forces Bob and his newborn daughter, Willa, into hiding.
Fifteen years later, Colonel Lockjaw is back on the hunt for members of the former terrorist group, which leaves Bob and Willa on the run once again.
Biggest points first, for better or worse, the release of this film and its plot comes at a very unique time, having its wide release just a day after detainees at an ICE facility in Texas were killed.
Although unintended, the subject matter is raw and real, and despite the movie’s sometimes comedic nature, this could affect the enjoyment of many viewers. It’s an important point to know before watching.
In terms of the film itself, it’s incredible.
PTA delivers a pulse-pounding, three-hour cat-and-mouse thriller that brings his signature style. The script is tight, the cinematography is sharp and intentional, the score is tense, and the performances from the entire cast are the best from an ensemble this year.
The best of the bunch are Leonardo DiCaprio as Bob, Sean Penn as Colonel Lockjaw and Chase Infiniti as Willa.
DiCaprio presents a clearly traumatised ex-revolutionary trying to hide himself from the rest of the world. He’s pathetic and almost unlikable, but he cares for his daughter. It’s a standout performance from DiCaprio in what is already a stellar career. His problematic moral compass directs the story’s funniest yet grey moments.
Chase Infiniti is another highlight as Bob’s daughter, Willa. In only her first acting credit, she steals scenes from some of Hollywood’s heavyweights without even batting an eye. It’s incredibly impressive and could easily kickstart her career.
The standout for me, however, was Sean Penn. His portrayal of Colonel Lockjaw creates a disgusting, deplorable human being, and without him, the questions PTA wants to ask the audience would not be anywhere near as poignant as they are in the film.
Early on in the movie, we learn about Lockjaw’s involvement in trying to join the ranks of a fictional white supremacist group. It becomes clear that his fascination with illegal immigrants and the group that’s ‘liberating’ them is nefarious, and seeing him being awarded by the US military for his dark deeds is quite hard to watch.
He’s clearly a caricature of militants and political leaders, and while the French 75 and their ways should not be celebrated by any means, his pursuit and treatment of immigrants and minorities do create interesting talking points and form the basis of important conversations.
He’s vile, unlikable, and in most cases, impossible to look at. It is a testament to the writing of PTA and the acting of Sean Penn, who combine to construct the best (or worst) villain of any movie this year.
Technically, this film is also a marvel. Shot entirely in IMAX 1.43, it’s crystal clear, and the camera’s quality ensures that no detail is lost.
When the movie’s biggest set pieces are on display, the quality is rivalled only by the likes of Christopher Nolan and $200 million blockbusters.
One Battle After Another won’t be for everyone. The subject matter is brutal, and the timing of its release may deter people. However, I do believe it to be essential viewing for 2025. It’s tense, funny, brilliantly crafted and incredibly acted.
It’s in my top three movies of the year so far and should be seen on the biggest screen possible.
One Battle After Another is showing in cinemas across the country.
