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Numerous battles have been the subject of discussion among film enthusiasts for months, and with good justification. This film not only signifies the initial joint effort between two prominent figures in modern cinema — Paul Thomas Anderson and Leonardo DiCaprio — but also comes with an impressive estimated budget exceeding US$150 million (4.8 billion baht).

For Anderson, a director recognized for deeply personal yet expansive depictions of American experiences (Boogie Nights, There Will Be Blood, The Master), this marks his largest scale project to date.

Anderson has consistently been a filmmaker captivated by disorder, authority, and broken human connections. In this work, he escalates these themes on a grand scale.

A Film Full of Continuous Conflict is a powerful cinematic experience—unyielding, fast-paced, and full of surprises. It combines Anderson’s keen social commentary with absurd comedy, chaotic scenes, and an emotional center that catches you off guard when you’re not looking. As I watched, I felt like I was experiencing both a political metaphor and a wild, frequently funny journey.

The plot centers on Leonardo DiCaprio portraying Bob Ferguson, a former radical activist currently in hiding, raising his teenage daughter, Willa (portrayed by new actor Chase Infiniti). Bob was previously part of the French 75, a militant group whose idealistic aspirations turned into chaos and treachery.

The movie begins with their history, presenting one of the group’s leaders, Perfidia Beverly Hills (Teyana Taylor). She states, “Free borders, free choices, free from fear,” and then organizes a large-scale release of prisoners at a Mexican border facility. This line reflects the fiery spirit of the French 75, and the film’s first act moves quickly through their series of bank heists and bombings, resembling Bonnie And Clyde or Wild At Heart but at an accelerated pace.

From the beginning, I was captivated by the film’s pace. One Battle After Another is full of vitality in every scene. It is unceasing, intense, and—most notably—organized chaos. Only a director as precise as Anderson could manage so many explosive components without the film descending into confusion. Car chases, gunfights, and explosions make up the action, yet each sequence feels infused with Anderson’s distinct tempo.

What astonished me the most, however, was the humor. Anderson has consistently experimented with surreal comedy, but in this case, he embraces it completely. The movie features some of the most unusual, hilarious scenes I’ve ever witnessed from him — at times even more clearly comedic than Punch-Drunk Love (2002).

I found myself laughing nonstop, even though the movie addressed serious political issues. This mix of gravity and nonsense is one of the reasons I loved One Battle After Another so much — it doesn’t take itself too seriously. It never lectures, never presents itself as “a significant film,” yet it still offers insightful observations on revolution, authority, and the turmoil of today’s world.

The acting takes this concept to a higher level. DiCaprio, as Bob, gives one of the most unpredictable performances of his career. Portraying a former revolutionary who spends a lot of his time under the influence but never ceases to care for his daughter, DiCaprio embodies a version of his Rick Dalton character from Once Upon A Time In Hollywood (2019). For almost three hours, he balances on the edge between pitiable, amusing, and sincere — and I enjoyed every moment of it.

Sean Penn delivers an unforgettable portrayal as Colonel Steven J. Lockjaw, a harsh immigration officer sporting one of the most disturbing hairstyles seen on film. His acting is quirky, threatening, and surprisingly humorous, and it wouldn’t surprise me if it puts him in the running for an Oscar.

Teyana Taylor, portraying Perfidia, delivers energy and passion in the film’s initial portion, taking control of every scene she appears in. Benicio del Toro, although having limited time on screen, almost steals the show as Sergio St. Carlos, a karate instructor with such unique characteristics that he seems to have stepped straight out of a Wes Anderson movie.

But the real surprise is Chase Infiniti playing Willa Ferguson. In her first movie role, she displays confidence, charm, and impressive depth. Her connection with DiCaprio feels genuine and heartfelt, serving as the core of the film’s father-daughter narrative. I genuinely felt like I was watching an experienced actor, not a novice sharing the screen with some of the industry’s top performers. If this opening performance is any sign, Chase Infiniti has a very promising future.

The movie’s audio environment also warrants special attention. During the showing, I was consistently drawn to the score’s simple, frequently unconventional layers. Sometimes it was just one repeated piano note; other times, a sharp guitar melody that evoked free jazz. These elements generated a confusing tension that intensified the film’s most stressful scenes.

As soon as the credits finished, I took out my phone to find out who composed it — and was not surprised to see Radiohead’s Johnny Greenwood. His work with Anderson has consistently been impressive, but this time he ventures even deeper into daring, experimental territory.

Although it is visually impressive, One Battle After Another is ultimately a movie that highlights perseverance. As the title implies, conflicts never cease: individual struggles, political conflicts, and fights for respect and existence. Anderson appears to suggest that change is not simple—it is complicated, unpredictable, and continuous. However, the film never becomes preachy. It does not offer lessons or act superior.

Although the movie functions as a political metaphor, it also excels simply as a form of entertainment. Even if you decide to overlook the underlying social and political themes, you would still experience an exciting, funny, and emotionally compelling journey. Its humor is very sharp, its action scenes are full of energy, and its tempo remains consistently high.

At 2 hours and 41 minutes, it progresses at such a rapid pace that it’s one of the briefest “long” films I’ve encountered in recent years.

A Series of Battles Following One Another presents Paul Thomas Anderson in his most unbridled form, offering a crime epic that combines intense action with sharp wit and surprising warmth.

Provided by SyndiGate Media Inc. (Syndigate.info).