One battle after another would make an ideal double feature with a 2025 box office bomb

Hold there, only a minute. This article contains Spoilers For “Eddington” and “one battle after another.”

In the most optimistic future that I can imagine, we look back on the 2025 films with a kind of nostalgia thanks – gratitude because the political bandium and the cultural chaos that were filmed did not last, and instead it was wearing a window for a very specific era of the cinema. It is an extension, and I know. Currently, all we have is two specific films that show contradictions, air, violence, and the madness of greatness at the present time. I am talking of course Paul Thomas Anderson “one battle after another” and Eddington.

These two films are starkly released when you only look at the similar backgrounds from the American southwest, these two films differ starkly when they only look at the summaries. “Eddington” follows the small town of Joaquin Phoenix and the Pedro Pascal in the center of the Covid-19s. There is an intense comment on large technology, conspiracy theory culture, and Internet strength for brain injury and isolation. On the other hand, “one battle after another” is a classic film for the mission in Hollywood, focusing on a strict revolutionary group and the repercussions of their actions against the government and the American army-specifically, the military campaign and the growing police against uncomfortable immigrants.

Both films are deeply focused at the current American political moment, but this is the way they explore their obsession at that moment when they really reflect each other. Although Anderson’s directorial feelings usually tend towards Hollywood’s artistic drama and ASter’s towards the world of worrying terror, both of them find an unintended medium in a very ridiculous image, which is a completely enormous image of contemporary American tension.

While both films cover different angles of the current American cultural scene, if it is permissible to speak, they are a subject that overlaps widely. In the movie “Eddington”, the violence that explodes in the streets of the lukewarm city of New Mexico is fed through the madness of greatness in the era of the epidemic and isolation, but the real collapse of figures to madness and despair is supported by invisible forces behind the scenes. Sherif Cross, Louise (Emma Stone) is known for filling a religious worship that emerges on the Internet from the conspiracy worship, while her mother, stuffed at home, falls into a bunny fuse. These digital engines of extremism are placed against the prosperous data center project in the city – which is bribed for mayor Garcia, despite everything that you can show about progressive ideas, to pay.

The protests also constitute an essential piece of “one battle after another”, when Colonel Bojjao (Sean Ben) launches a full military attack on Baktan City Sanctuary under the auspices of the supposed migratory drug network underground. His real motivation is to find Wila Ferguson (Chis Infiniti), former former daughter of the former French revolutionaries, Bob Ferguson (Leonardo DiCaprio) and Perfevia Beverly Hills (Tiana Taylor). He leads the sexual meeting with Perfidia 16 years ago Lukegao to suspect that he might be the father of Wila biological, who would throw a key in his request to Doom White Supremist called Adventurers Club.

Again, the cabal lights the valves that blow in the streets of Baktan Cross. Both films show more dangerous violence by external instigators – Luxu agents in the case of “one battle” and More dark militants in “Eddington”, Although the film indicates that they may have been sent by financiers at the city’s huge data center.

Even with all these similarities narrative and objective, “one battle after another” and “Eddington” will not feel that it is directed to double treatment if not the specified tone they take to their tales of political turmoil. Sherif Sharif Phoenix and Colonel Lukjao – law enforcement men, are drawn, albeit greatly different – in equal shades of breastfeeding, incompetent, and very harsh. Both are brutal violence motivated by anxiety about the concept of masculinity. Both end their stories in ugly ways that make you want to look away from the screen, even if you think they finally got what they deserve.

His history in the relations between races revealed that Lukjao is treating a dual death by the sect to which he is strongly eager (to the point of crying, in his final scenes) to be part of it. When a rifle explodes to the skull, they end it with deception and an improvised gas room before throwing it on the garbage waterfall – the aesthetic Nazis with the least wonderful variety. Kross also survived the bullet wounds that appear fatal at the beginning, making him a very disabled person in a town that is completely sold to the same great technical interests that indirectly pushed it to madness.

The Hollywood new sensitivities in Hollywood provides the only traditional “happy end” in any of the films, as Wila takes on her revolutionary parents and carries the flame for the next generation. But even with this positive tingling in the last moments, the film stops largely from providing a good feeling of annoying-frank and implicit violence-about the thing that America calls.