Paul Thomas Anderson is one of the best directors working today because you never know what to expect with each film and One Battle After Another is no exception. Heralded as the best film of the year so far by numerous outlets, One Battle After Another is an unnerving portrait of the current political landscape, as far-right militia crack down on illegal immigration sparking violent protests from the far-left revolutionary group, the French 75. The film follows paranoid drug addict, Pat Calhoun (Leonardo DiCaprio), who must tap back into his French 75 training when his daughter, Willa (Chase Infiniti), is being hunted by the corrupt Colonel Steven J. Lockjaw (Sean Penn).

Marking his second Thomas Pynchon adaptation, director Paul Thomas Anderson lifts the basic plot of the novel, Vineland, from its Reagan-era setting and brings it to the 21st century. The result of which is an unpredictable study of political and socioeconomic conflicts in America that bubbles in tension as it interweaves characters meticulously until the fiery climactic third act. The fusion of Pynchon’s psychedelic wasteland and Anderson’s sharp attention to detail pushes One Battle into a league of its own and ultimately brings us a new kind of “epic” movie: one that is doused in dystopia nostalgia and intricate character dynamics.

Leonardo DiCaprio proves yet again why he is one of the best leading men in Hollywood. He is a tour de force as paranoid, drug addict, Pat Calhoun, a former bomb expert for revolutionary group French 75. Having worked with Martin Scorsese on a third of films released this century so far, DiCaprio has become synonymous with the realist gritty roles expected from a Scorsese feature. However, we’ve also seen DiCaprio venture into unfamiliar territory with highlights including his turns in Quentin Tarantino’s films Django Unchained and Once Upon a Time in Hollywood. However, it’s this performance as hopeless Pat that feels the most realised and distant from DiCaprio’s tenure in the 90s. We’ve seen him shine in comedies before with Wolf of Wall Street often cited as the film that should have won him the Oscar, but there is a tenderness in Pat’s character as he tries to do the right thing and constantly fails. His instincts fail him as he raises his daughter, Willa (Chase Infiniti) as a single parent following the abrupt departure of his partner, Perfidia Beverly Hills (Teyana Taylor) and spends his days drinking and getting high. You could argue that Pat’s character is cut from the same cloth as Joaquin Phoenix’s Doc in Inherent Vice. Both characters are conceptualised by Thomas Pynchon and realised by Anderson, but it goes beyond the aesthetic and feel of the great days of old. Pat and Doc both strive to create a better world, but in doing so find themselves against the sheer corruption of government, leading to a headfirst leap into conspiracy followed by drug-fuelled madness. Pat may seem cartoonish to an extent, but the sincerity with which DiCaprio plays him and that unkillable urge to better the world is the driving force that allows the film to deliver it’s message flawlessly.

In true PTA-style, we have a supporting cast of eccentrics with the standout being Sean Penn as the corrupt Colonel Lockjaw. Penn’s performance is so over the top with his physicality and mannerisms, that it’s hard to take Lockjaw seriously. Often used as the butt of a joke or the punching bag for the sinister Christmas Club, you can sense that Lockjaw is being pushed to his limit. We see flickers of darkness throughout the film, but it is during the final act when we see Lockjaw’s true nature and Penn brings the monstrous side of Lockjaw brilliantly. I don’t doubt that Penn will receive nominations across the board with a big chance of sweeping. This feels like a comeback in a way as Penn is extremely selective with his roles, but hopefully we can see more PTA collaborations in the future.

Another phenomenal supporting turn is from Benicio del Toro, who plays Pat’s friend, Sensei Sergio. He is viewed as a de facto leader in the immigrant community, always striving to help those in need. Once he realises Pat’s past affiliations, Sensei endeavours to help any way he can, understanding that their core values align. The opposite of Lockjaw in every sense, del Toro’s performance is minimalist and subtle but holds the same amount of impact with less time than Penn. With so much shine on Penn’s performance, it would be remiss to overlook the astonishing work del Toro does here and he more than deserves inclusion in Best Supporting Actor discussions.

There’s nothing better than seeing someone absolutely smash their breakthrough role and Chase Infiniti’s performance as Willa is among the best in recent years. Not only does she hold her own against industry veterans with ease, her performance brings the heart to the film. We see Willa try to break free from her father’s restrictions with success and failure in equal measure. Despite growing up in a community that society would deem “outcasts”, Willa herself is seen as an outsider to her peers, making her an isolated individual. The main frame of the film sees Willa come to terms with her identity and the mystery of her mother’s whereabouts and how that legacy determines her place in the world. It could be argued that One Battle is a coming-of-age film as Willa’s “battle” is building her own identity as she enters adulthood.

Jonny Greenwood returns to score the film, bringing a 1970s soft-rock vibe that feels nostalgic and scenic. As expected from Greenwood’s work with PTA, the music works with the imagery, masterfully layering sounds to build tension which contrasts with the quieter music during scenes with lots of dialogue. There is a timeless quality to Greenwood’s score, despite its 1970s-inspired sound. At times mellow with vast scenery while at others, jaunty and infused with espionage during protest scenes, Greenwood finds a dynamic balance that is offbeat and complimentary at the same time.

If Greenwood’s score is the fire then Michael Bauman’s cinematography is most definitely the match. The use of wide shots  that linger elevates the suspense and unpredictability of the film. We, the audience, can only sit and watch these events unfold with an unflinching and unfiltered perspective. Bauman manages to use open spaces in a way that feels awfully claustrophobic. No matter whether the characters are meandering round the desert or huddled in tiny interrogation rooms, there is always a sense of entrapment that allows for no escape. The use of the camera when Willa is driving up and down hills with plenty of blind spots is nail bitingly brilliant and fully immerses the audience into the uncertainty of where the road – literally and figuratively – will lead.

One Battle After Another may just be the film that gets Paul Thomas Anderson his well-deserved moment of glory after decades of impeccable output. One Battle is a searing commentary on contemporary America and thanks to a plethora of memorable performances, an impactful score and ingenious cinematography, this is definitely a film that demands repeat viewings.