What is the role of film in society? You’ve probably come across that question many times. This isn’t a film theory class; it’s just a question I have to ask after watching the movie we’re discussing today.
The common answer is that film is meant to reflect society, a mirror of what’s happening during a particular period.
But in the age of social media, we have excessive exposure to information, events, and news. If you can afford a movie ticket, you probably have a TV or a phone, which means you already scroll through social media or watch the news every other day. You have access to what’s happening around the world in real time, any minute, anywhere.
So, when you walk into a theatre, do you want to see the same things you’re constantly exposed to, just bigger, brighter, and produced by a creative team, or are you seeking escapism? To step into a different world and experience something else entirely?
That’s the question I kept asking myself as I walked out of One Battle After Another, a film many people are calling one of the best of the year. And to be clear, I really liked it. It’s bold, intense, and beautifully made. But I still had one big issue with it.
One Battle After Another
This is a 2025 American action-thriller written, produced, and directed by Paul Thomas Anderson. It’s loosely inspired by Thomas Pynchon’s 1990 novel Vineland and stars Leonardo DiCaprio, Sean Penn, Benicio Del Toro, Regina Hall, Teyana Taylor, and Chase Infiniti.
The story follows an ex-revolutionary who must rescue his daughter from a corrupt military official. I could go on, but it’s one of those movies where the less you know before watching, the better.
Because it’s a Paul Thomas Anderson film, you can expect layered characters, tension, and emotional weight. His work always blends classic cinematic ambition with realism, focusing on flawed individuals chasing purpose or control.
The marketing leans heavily on DiCaprio, so you’d think this is his movie. Technically, it is, he’s the star, and he does a great job. But the real standout is Sean Penn. This is his movie.
Sean Penn completely transforms, not just in looks, but in how he moves, reacts, and carries himself. While he is in a serious role, he’s also funny in some unexpected scenes, yet remains deeply compelling. His character arc will stick with a lot of people, and his presence alone holds weight in a scene, almost overshadowing everyone else. I can see him winning an Oscar for this.
The story, however, is anchored by Teyana Taylor’s character. Her screen time isn’t long, but her role is crucial, and she elevates every moment she’s in.
Everything that happens through the film, especially involving Sean Penn, DiCaprio, and Chase Infiniti, connects back to her. Her actions ripple through the film in ways you only start to understand by the third act.
The daughter, played by Chase Infiniti, carries much of the second half. Her storyline grounds the movie emotionally. As everything comes together toward the end, she becomes the centre of it all.
Chase is excellent, so good that you can tell this is her breakout performance. Regina Hall provides a key link later on (trying to keep this spoiler-free), and she captures the passage of time beautifully through her performance and costume changes.
What works
The movie looks incredible. The cinematography is flawless, the colours pop, the framing and lighting are deliberate, and every shot feels purposeful. These are details you might not even notice because the story captures your full attention.
There’s a car chase in the third act that feels and looks like a Western. It’s shot so well it puts you in the driver’s seat and keeps cranking up the tension. Even the quieter scenes, like those between DiCaprio and his daughter, look rich and textured.
The score is most likely something you’ve heard used a lot in modern film, it's unique.
The sound design does a great job keeping you uneasy without overpowering the moment. There’s a sequence in the second act where the sound blends perfectly with the events on screen, a move that wouldn't have worked under a different director. The soundtrack is also great, with familiar songs that never distract from the story.
The costume design defines characters instantly. You can tell who’s who and what they represent before they even speak. Each outfit matches the character’s energy and personality, even when they go a little over the top.
It’s a long film, almost three hours, but the pacing makes it feel shorter. I never felt like time was wasted or that any scene was unnecessary.
The writing ties everything together. Early decisions ripple through the story, and small moments in the first act end up shaping the ending. The screenplay is especially strong for Sean Penn and Teyana Taylor’s characters. Nothing feels random or filler.
The are some fantastic moments that add a whole different dimension to Christmas and the concept of knowing what the time is, amusing, dark and very at times.
And while it’s an American film, it’ll resonate strongly with audiences in countries like South Africa. It touches on class, race, and generational trauma in ways that echo apartheid and inequality. People like Trevor Noah or Robby Collins would probably see themselves in at least one of these characters.
What didn’t work
At times, the film feels like the news, like scrolling through X, just cinematic and on a bigger screen. The first 30 minutes are even with the themes fantastic, a strong setup, but by the middle, a few scenes feel like they've been pulled straight from real world.
I understand why.
The commentary on immigration, race, and state violence is powerful and works within the context of the story. But sometimes it starts feeling less like cinema and more like activism packaged as art. One particular scene mirrors exactly what’s been happening in America over the past few months.
That’s where the “mirror of society” idea becomes tricky. There’s a fine line between reflection and regurgitation.
We already know the world is on fire. Most of us, especially with the constant social and political noise, go to the movies to escape for a few hours (which the second half of the movie delivers), not to rewatch real life play out on a massive screen. That is why movies like the first Avatar make a lot of money.
Credit where it’s due, Paul Thomas Anderson handles these heavy themes with skill. Even when the message feels heavy- handed, his direction keeps it engaging. Everything still ties back to the characters, which saves the film from turning into fully fledged activism.
Final thoughts
I genuinely liked One Battle After Another. It’s easily one of the most gripping films of the year; ambitious, tense, funny, and a must-watch for film students. The performances, especially Sean Penn’s, are unforgettable.
Teyana Taylor adds something special, and DiCaprio does what he always does best, commits fully to his role. The last hour is a masterclass in building tension while keeping the characters at the centre.
So yes, the hype is real. One Battle After Another stands alongside Sinners and Weapons as one of best films to come out in 2025. Just don’t expect pure escapism, this one hits closer to home than some might want.
