Paul Thomas Anderson hasn’t let us down yet. In each of his films – from his debut with the exhilarating 70s porn star odyssey Boogie Nights through to the gothic, quietly toxic romance of Phantom Thread – he presents a fully fledged world of idiosyncrasy, humour and human foibles. He is one of the great American filmmakers working today, and a project of his is always a reason to stand up and take notice.

His new film, One Battle After Another , a loose reworking of Thomas Pynchon’s 1990 novel Vineland , is a funny, unpredictable ensemble piece that explores revolutionary praxis as a generational pursuit, using a fictional group of bomb-planting domestic terrorists known as “The French 75” to tell a story both personal and political. Anderson’s is about a father and daughter from

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