Three new movies from acclaimed directors Paul Thomas Anderson, Luca Guadagnino, and Kathryn Bigelow address complex political themes like extremism, sexual assault accusations, and nuclear threats. These films avoid straightforward advocacy, instead embracing doubt and nuance to provoke audience reflection. Released amid ongoing societal debates, they highlight cinema's role in exploring divisive topics.
Overview
Recent releases in American cinema are diving into contentious political landscapes, but directors Paul Thomas Anderson, Luca Guadagnino, and Kathryn Bigelow opt for ambiguity over clear-cut messages. As the article notes, 'All movies are political, in their own way,' yet these films stand out for their self-critical approaches rather than simplistic sermons.
One Battle After Another
Paul Thomas Anderson's epic satirizes fringe politics through an undeclared war between armed leftist radicals—who break into detention centers and rob banks—and right-wing extremists plotting assassinations. Starring Teyana Taylor, Sean Penn as the perverse Col. Lockjaw, and Leonardo DiCaprio, the film draws from Thomas Pynchon's 'Vineland' and echoes Stanley Kubrick's 'Dr. Strangelove' with exaggerated scenarios and silly names. Conservatives have criticized it as an antifa call, but Anderson portrays both sides with flaws, like a pothead radical and an egotistical informant, emphasizing mutual perceptions of the 'irredeemable worst' in each other. The story ends with the conflict unresolved, underscoring endless division.
After the Hunt
Luca Guadagnino's drama, set at Yale, examines race, academia, and the #MeToo movement via a sexual assault accusation by a gay Black woman (Ayo Edebiri) against a white male professor (Andrew Garfield). Julia Roberts plays his academic rival Alma, who navigates shifting alliances. Written by Nora Garrett, the film leaves the assault's occurrence ambiguous—occurring off-screen—and questions motivations, such as plagiarism revenge or donor influence. It critiques 'unquestioning belief' in accusations, with Alma stating, 'If it’s real to you, it’s real.' A contrived epilogue nods to Hollywood closure, but Guadagnino's voice yelling 'Cut!' reminds viewers of the medium's limits.
A House of Dynamite
Kathryn Bigelow's thriller, penned by Noah Oppenheim, confronts the military-industrial complex and nuclear risks when an unidentified missile targets the U.S., leaving 15 minutes for response. Idris Elba stars as the president, with Rebecca Ferguson among a team of patriots facing inevitable tragedy despite good intentions. Rooted in real national security concerns, as expert W.J. Hennigan called it 'so lifelike as to be terrifying,' the film avoids villains beyond the weapons themselves, differing from Cold War classics like 'Fail Safe.' It concludes without resolution, questioning fallible systems and mutual assured destruction.
These films collectively challenge viewers to grapple with thorny questions, from personal freedoms' costs to systemic failures, without providing answers.