{"id":726817,"date":"2026-03-16T14:27:23","date_gmt":"2026-03-16T13:27:23","guid":{"rendered":"https:\/\/numero.com\/?p=726817"},"modified":"2026-03-16T14:27:27","modified_gmt":"2026-03-16T13:27:27","slug":"director-paul-thomas-anderson-in-5-obsessions","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/culture-en\/movies\/director-paul-thomas-anderson-in-5-obsessions\/","title":{"rendered":"Director Paul Thomas Anderson, star of the Oscars, in 5 obsessions"},"content":{"rendered":"\n
\"Paul\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Paul Thomas Anderson at the 98th edition of the Academy Awards in Hollywood on March 15th, 2026. \u00a9 Gilbert Flores\/Penske Media via Getty Images.<\/figcaption><\/figure>\n\n

Paul Thomas Anderson win his first Oscar for One Battle After Another<\/em><\/h2><\/h2>\n\n

Currently in theaters since September 24th, 2025, One Battle After Another<\/em><\/strong> unfolds as a contemporary epic. A father is seeking redemption in an America pushed to its breaking point. The mischievous, yet sharp tongue already present in the trailer hints at a dark comedy, where the quest for a suspended past becomes dizzying.<\/p>\n\n

Four years after Licorice Pizza<\/em><\/strong> (2021), Paul Thomas Anderson<\/strong> is back with his tenth feature reinvigorated by a renewed formal enthusiasm. The American director is delivering a haunting odyssey, halfway between a mythological thriller and a visceral staging of impulse. Another deep dive into the furrows of his inner truths.<\/p>\n\n

Like in There Will Be Blood<\/em><\/strong> (2007), there is the drive of a man confronted with his shattered ideals. Here, that character is portrayed by Leonardo DiCaprio<\/strong><\/a>, who embodies both a fugitive and decisive man in what already appears to be one of the director\u2019s most ambitious films. This time, he weaves a story in which the enemy resurfaces after sixteen years, forcing a group of former revolutionaries to come together to save a child, thus revealing the fragility and resilience of family bonds. As the feature film has just won six Oscars<\/strong>, including the award for Best Picture, throwback to five of Paul Thomas Anderson<\/strong>\u2019s obsessions.<\/p><\/p>\n\n

\r\n
https:\/\/www.youtube.com\/watch?v=kQUPdVxZNPk<\/a><\/div>\r\n
The trailer of One Battle After Another\u00a0<\/em>(2025) by Paul Thomas Anderson.<\/figcaption><\/figure>\n\n

Gurus and their communities seen through the director’s lens<\/h2>\n\n

In Paul Thomas Anderson<\/strong>\u2019s cinema<\/a>, there is always this fascination with those who speak louder than the rest. Take The Master<\/em> (2012), in which Philip Seymour Hoffman<\/strong> plays Lancaster Dodd, a spiritual leader whose words and authority both mesmerises and soothes his audience. Many saw a direct reference to the Church of Scientology, even though the American filmmaker has consistently denied that connection.<\/p>\n\n

The figure of the guide and of an America yearning for new beliefs never comes without its ambiguities. A decade earlier, in Magnolia<\/em><\/strong> (1999), Tom Cruise<\/strong> was already portraying a toxic guru, both captivating and repulsive. For Paul Thomas Anderson<\/strong>, the power of persuasion is a form of performance in itself. Fixed gazes, deliberate silences, dialogues that border on incantation\u2026 As The Guardian<\/em> noted upon the film\u2019s release, \u201cinfluence becomes a spectacle in itself<\/em>.\u201d<\/p>\n\n

Ultimately, the director is less interested in sectarian aberrations than in the mechanics of charisma. His gurus reflect a society desperately looking for someone to follow, for a common narrative. Cinema then becomes a mirror. Who is watching who? And more importantly, why?<\/p>\n\n

\r\n
https:\/\/www.youtube.com\/watch?v=-EGSWpBDbho<\/a><\/div>\r\n
The trailer of The Master <\/em>(2012) by Paul Thomas Anderson.<\/figcaption><\/figure>\n\n

Filming solitude and isolation<\/h2>\n\n

Nothing is more central to his work than solitude, that intimate crack running through each one of his films. In There Will Be Blood <\/em>(2007), Daniel Plainview<\/strong> – played by the legendary Daniel Day-Lewis – ends his journey crushed by his own ambition, trapped in a mansion with no heirs. \u201cThe fundamental desolation of American capitalism<\/em>,\u201d as The Washington Post<\/em> put it at the time.<\/p>\n\n

But solitude isn\u2019t just physical isolation. In Punch-Drunk Love<\/em> (2002), Adam Sandler<\/strong> plays a man trapped by his impulses and crippling shyness. The film plays on silence and sudden outbursts, revealing the struggle to find one\u2019s place in a world overflowing with social norms.<\/p>\n\n

Paul Thomas Anderson<\/strong> amplifies that feeling by placing his characters in vast, empty spaces. Solitude becomes a condition rather than a circumstance. Viewers are thus invited to identify their own internal broken parts.<\/p>\n\n

\r\n
https:\/\/www.youtube.com\/watch?v=GKBYOZlQADk<\/a><\/div>\r\n
The trailer of Punch-Drunk Love <\/em>(2002) by Paul Thomas Anderson.<\/figcaption><\/figure>\n\n

A fascination with excess in cinema<\/h2>\n\n

Everything in Paul Thomas Anderson<\/strong>\u2019s films overflows. Even his tracking shots doesn’t seem to ever end. In Boogie Nights<\/em><\/strong> (1997), his sweeping portrait of the 1970s porn industry plays out, naturally, like an orgy\u2026 One of colour, music and cocaine.<\/p>\n\n

The narrative and visuals are equally excessive. Magnolia<\/em><\/strong> piles up broken destinies and musical interludes. Rather than veering into chaos, the American filmmaker embraces this excess as the only viable form to portray troubled lives. Paul Thomas Anderson<\/strong>‘s cinema is one of controlled overdrive.<\/p>\n\n

Even his gentler films, like Licorice Pizza<\/em><\/strong> (2021), bring out a boundless energy. Wild chases through the streets of Los Angeles, adolescent fervour\u2026 Here, excess becomes an ode to vitality. Characters unable to contain themselves mirror an America that has never learned moderation.<\/p>\n\n

\r\n
https:\/\/www.youtube.com\/watch?v=YN7pcEa83dU<\/a><\/div>\r\n
The trailer of Boogie Nights<\/em> (1997) by Paul Thomas Anderson.<\/figcaption><\/figure>\n\n

Capturing violence through the camera<\/h2>\n\n

Brutality pulses through each of his films. Sometimes it lurks beneath the surface, sometimes it erupts violently. In There Will Be Blood<\/em><\/strong> (2007), the final confrontation between Daniel Day-Lewis<\/strong> and Paul Dano<\/strong> ends in bloodshed and madness. A violence that is inevitable and legitimized by the economic conquest. But Paul Thomas Anderson<\/strong> also knows how to work with latent threat. In Punch-Drunk Love<\/em> <\/strong>(2002), the hero\u2019s bottled-up rage occasionally bursts forth, exposing the simmering aggression that is part of his daily life.<\/p>\n\n

This violence isn\u2019t limited to individuals. It unfolds through institutions, families, communities. Inherent Vice<\/em> (2014), starring Joaquin Phoenix<\/a>, shows a paranoid American society riddled with diffuse forms of brutality, whether political or police-related. Violence is never accidental – spilling blood is just another operational mode of the nation\u2026<\/p>\n\n

\"Director\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Director Paul Thomas Anderson in 2022 in Santa Barbara, California. \u00a9 Rebecca Sapp\/Getty Images pour SBIFF.<\/figcaption><\/figure>\n\n

America and, by extension, the “American Dream”<\/h2><\/h2>\n\n

More than a mere backdrop, America is ultimately the true protagonist of Paul Thomas Anderson<\/strong>\u2019s works. In There Will Be Blood<\/em> <\/strong>(2007), the tale of oil became a parable of emerging capitalism. Boogie Nights<\/em><\/strong> (1997) drew a portrait of California, where sex and money set the rules. Licorice Pizza<\/em><\/strong> (2021) captured the post-Vietnam youth, caught between innocence and cynicism.<\/p>\n\n

Each era filmed by the American director unveils a nation that is both recognizable and distorted. The Master<\/em><\/strong> (2012) tells the story of a spiritually starved postwar America, eager for new beliefs. Magnolia<\/em><\/strong> (1999) dissects the San Fernando Valley, like a lab for contemporary neuroses.<\/p>\n\n

The New York Times<\/em> may have best defined Paul Thomas Anderson<\/strong>. The media called him a filmmaker who maps \u201cAmerica\u2019s fractures\u201d, a puzzle where dream and disillusion coexist. A nation on the brink of collapse.<\/p>\n\n

One Battle After Another (2025) by Paul Thomas Anderson, out now.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Paul Thomas Anderson win his first Oscar for One Battle After Another Currently in theaters […]<\/p>\n

Read More… from Director Paul Thomas Anderson, star of the Oscars, in 5 obsessions<\/span><\/a><\/p>\n","protected":false},"author":12,"featured_media":816280,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[88,87],"tags":[10444,9195],"class_list":["post-726817","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","category-culture-en","tag-oscars-2","tag-paul-thomas-anderson-en-2"],"acf":[],"yoast_head":"\nPaul Thomas Anderson, star of the Oscars, in 5 obsessions<\/title>\n<meta name=\"description\" content=\"One Battle After Another by Paul Thomas Anderson has just won six Oscars. 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