Paul Thomas Anderson's cinema always surprises, either by thematic density or by the way he can laugh at his own contradictions. In one battle after another, his new feature, the director transforms heavy themes such as immigration, social segregation, freedom and even secret societies in the background for a plot that is, above all, a comedy of action full of eccentricities.
The plot follows Pat (Leonardo DiCaprio), a former revolutionary who, alongside his perfidious partner (Teyana Taylor), fought the system in the early 2000s. A traumatic event, however, forces them to abandon the fight. He then lives in disguise for the next 16 years, trying to adapt to ordinary life.
This calm ends when his daughter Willa (Chase Infiniti) is persecuted by a former colonel (Sean Penn), who resumes the hunt against Pat. Forced to return to active, he needs to rescue memories and strategies that no longer dominate, so long away from action, and the excesses of drugs he uses. And the result is a succession of absurd and hilarious situations that give the movie their unique identity.
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Despite the severity of the themes that surround the story, Anderson leads everything for the exaggeration and humor. The film finds grace in Pat's paranoia, in their desperate measures to protect their daughter and the contrast between the royal threat and their memory fails.
It is in this space that equally eccentric characters emerge, such as Sergio St. Carlos (Benício del Toro), an unlikely mentor that offers balance and help. And to complete the bizarre scenario, Colonel Lockjaw proves to be an out -of -tone villain, while another unusual group arises in persecution: the Christmas adventurers, uncomfortable and comical parody of neo -Nazi organizations.
The emotional center of the feature is in the relationship between Pat and Willa. DiCaprio delivers an energy performance, which balances paranoia and tenderness, while Chase Infiniti stands out as the daughter who matures in the face of chaos.
Even far away from each other in much of the movie, their ways intersect symbolically: there is a role inversion, mutual learning and a "baton" that makes the journey deeper than it seems.
With almost three hours long, one battle after another does not drag itself at any time. Anderson's agile assembly and safe direction maintain the narrative's energy, alternating fluid action, tension and humor. Each scene brings a new eccentricity, keeping the viewer involved from beginning to end.
Uniting sophisticated aesthetics, striking performances and originality, the film has all the elements to shine in the awards season. Anderson can balance social criticism and absurd comedy without losing the charm of authorial cinema.
If you enjoy this type of plot, or the director's filmography, there is still an extra reason to see it in the cinema: the filming in Vistavision, which expands the visual experience and makes the show on screen even more impactful.
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