Punch-Drunk Love is Paul Thomas Anderson’s take on a romantic comedy, but still maintains his signature absurdity and intricacy. Following a more streamlined narrative and a smaller cast of characters, Punch-Drunk Love is a 90 minute whirlwind.

Whoever says that Adam Sandler has never turned in a great performance has never seen this gem of a film. Sandler plays Barry Egan, a depressed businessman who owns a company selling novelty items such as toilet plungers. He has seven sisters who constantly ridicule and abuse him, making fun of his shortcomings and inability to find a fulfilling relationship. He meets the elusive Lena Leonard (Emily Watson), who works with one of sisters and the two get on well with relationship between them soon blossoming.

Soon enough, Barry finds himself engaged in a slew of unfortunate events when a sex-line operator extorts him and demands the collection of a large sum. He tracks down the manager of the sex-line and finds mattress store owner, Dean Trumbell (Philip Seymour Hoffman). His interaction with Dean is interesting because it is Barry’s vulnerability and sensitivity (which are often perceived as “feminine” traits) that actually intimidate Dean.

What Anderson presents us with is a complex insight into masculinity and femininity and the societal expectations that are held for both. Barry and Lena are ostracised because they openly hold traits in both and reject the norm. Lena is a successful travelling businesswoman.

The final act of the film sees Barry agree to openly support her, subverting the stereotypical gender norms. However, it isn’t done to show a sign of weakness in the relationship but rather Anderson concluding that their relationship is stronger because of their differences and unwillingness to fit in.