Paul Thomas Anderson’s upcoming film, One Battle After Another, expands his directing career by nearly 30 years, and his consistency in storytelling has held up remarkably well. Unflinching humanism remains a signature theme throughout all of his films through an internal focus. This internal focus shows up through egotism, failure, forgiveness, self-indulgence, power, and family. The emotional resonance that Anderson’s films bestow upon the audience leaves a visceral reaction that can lead to introspection. The introspection in his film, whether Anderson’s stories are ensemble or character pieces, the groundbreaking humanistic storytelling always remains as the focal point for the resolution. The essence that Anderson encapsulates throughout his films is organic, and these unique experiences promote unforgettable inclusivity.

Punch Drunk Love (2002)

Punch Drunk Love (Anderson’s fourth film) is his most colorful and object-heavy film that offers more on each rewatch than the time prior. The film follows Barry Egan (played by a serious Adam Sandler), an autistic business owner who is awkward and misunderstood. Barry is a self-deprecating loner who is reprimanded by his sisters and eventually gets caught up in a scam. Through this dilemma, Barry begins to attract feelings for one of his sister’s soft-spoken co-workers, Lena (Emily Watson). As the film progresses, the color scheme changes between Barry’s and Lena’s clothing, signifying evolution through the different stages in their relationships. The color palettes in the film are a window into Barry’s mood swings as he explores what love represents. The film signifies what learning to love is when not seen as an innate human, while accepting obscurity through obsession. The loss of connection that the film speaks to is still prevalent today, but in the film, there is a struggle with reality that we see with both Barry and Lena, and unpacking that is as endearing to the film as it is the solution. The film is simple, but the elements heighten the story, crafting a unique experience. Anderson’s subtlety with emotions makes Punch-Drunk Love a cherished romance drama that should have more shine.

Licorice Pizza (2021)

Licorice Pizza is Anderson’s latest film and second attempt at a love story, which centers around adolescence and adulthood and takes a lighter approach. The film follows a 15-year-old actor (Cooper Hoffman) who is in love with a 25-year-old (Alana Haim) in the San Fernando Valley, which is where he grew up. While the romance is controversial, the shifts are familiar and nuanced. A major takeaway from the romance between the two protagonists is giving and taking, which is a strength and a weakness that plagues them. Oftentimes, the push and pull between the protagonists comes rudimentary, but as it continues to build, the cracks in the foundation of their relationship begin to show their differences. The familial dynamics that the film showcases play a major role in the purpose of the protagonists’ growth and shortcomings, which push and pull them towards success. The essence of the film (aside from its soundtrack) demonstrates the lengths that it will go to show that no matter how different or apart the protagonists are, when it counts the most, they are there for one another. This shows further that self-exploration and power dynamics aggress and regress the characters, forcing them to come to terms with the understanding that adulthood isn’t linear, and differences are inevitable. 

Inherent Vice (2014)

Inherent Vice is Anderson’s seventh film and his first attempt at directing a Thomas Pynchon adaptation. This film is different from the rest of Anderson’s filmography as it is inebriating in its narrative and not easy to comprehend. The film serves as an old-school, dopey comedic mystery about change through many facets with an all-star cast (Joaquin Phoenix, Reese Witherspoon, Josh Brolin, Martin Short, and Owen Wilson). The film takes on a nuanced perspective of the counterculture movement and how it shaped the 60s and early 70s. The film takes on the theme of internal failure and time, which work in tandem, though there are so many moving pieces that it can get lost in translation. Which radiates through more themes than one, leading to the conclusion of the mysterious objective. When watching this film, it’s best to get wrapped up in the characters (which is an old school approach for Anderson) and their dialogue more so than the mystery. Leaning into the mystery may seem like a continuous loop, emulating the same never-ending cycle as the characters in the film. Thomas Pynchon adaptations can be seen as unadaptable, but Anderson crafts a narrative that flows with intrigue even when it doesn’t make much sense and feels overwhelming.  

Phantom Thread (2017)

Phantom Thread is Anderson’s eighth film, which is simply about power dynamics, the loss of one’s first love, and navigating new relationships through dysfunctional practice. The film follows Reynold Woodcock (Daniel Day-Lewis), a militant, renowned designer who, along with his sister Cyril (Lesley Manville), is a power player in the 1950s fashion era in London. Women of illustrious status flock to wear Reynolds’ dress but tamper in and out of Reynolds’ life, leaving him as the ultimate eligible bachelor. This is until Alma (Vicky Kreips) enters his life not only as his partner but his inspiration. The film showcases that in order for a relationship to work, the power dynamics need to be distributed amongst both parties in order to prolong interest in the relationship. The relationship between Reynolds and Cyril is paramount in juxtaposition to how Reynolds treats love interests who come in and out of his life. Cyril is the force multiplier of Reynolds’ life, and he is the only personal point of contact (that is, until Alma comes into the picture). Through that lens, it is strategic to look at how Alma swoops in and reconstructs Reynolds’ life. Alma is a self-aware, strong-willed host of imperfections, and Reynolds picks up on that as he sees himself as perfect at every turn, though it just isn’t true. What Reynolds lacks is a sense of self, and Alma has that in many ways, which is why she is his muse. What Anderson does well with Phantom Thread is that he puts Reynolds out of his comfort zone to break a generational curse. This forces Reynolds to confront his strained relationship with others through vulnerability while putting his most prized possessions in jeopardy (as it is the exact thing holding them back). The film succeeds at breaking cycles that feel nearly impossible while exploring what the power of love can do for one who is self-indulgent. Anderson’s masterfully crafted introspection as a character-driven auteur cements a rebirth that takes place and allows the film to settle into a balanced relationship that feels seamless.

Hard Eight (1996)

Anderson’s directorial debut was based on a short film that he directed in 1993 called Cigarettes and Coffee, which he screened at Sundance in order to get the budget for a feature-length film.