By Irshad Khan 
Paul Thomas Anderson’s One Battle After Another has emerged as one of 2025’s most critically acclaimed films, earning a rare 98% on Rotten Tomatoes and Oscar buzz across multiple categories. Starring Leonardo DiCaprio in a career-defining performance, this R-rated political thriller adapts Thomas Pynchon’s novel “Vineland” into a visceral meditation on revolution, redemption, and the cost of idealism. Despite universal critical praise, the film has struggled at the box office, making it one of the year’s most fascinating paradoxes—a masterpiece that audiences haven’t fully embraced.
Sources
Critical Acclaim Meets Box Office Reality
Paul Thomas Anderson’s One Battle After Another has been hailed by critics as the best film of 2025, with reviewers praising its vibrant visual storytelling, politically charged narrative, and masterful direction. The Dartmouth called it “the best movie of 2025,” while Roger Ebert’s site described it as “a live wire that drops in the first scene, setting off sparks for the next 162 minutes.” The film earned an astonishing 98% on Rotten Tomatoes, marking PTA’s highest-rated film and positioning it as a frontrunner for Best Picture at the 2026 Academy Awards.
Despite this overwhelming critical consensus, the film has underperformed commercially. With a production budget of $140 million, One Battle After Another opened to $22 million domestically and has accumulated $179.9 million worldwide as of late October 2025—$65.7 million domestic and $114.2 million international. Industry analysts note the film needs approximately $350 million to break even based on the standard 2.5x multiplier rule, making it unlikely to achieve profitability during its theatrical run. The BBC explored this paradox in depth, examining why one of the year’s most acclaimed films failed to connect with mainstream audiences despite its artistic merit.
Cast: Powerhouse Performances
Leonardo DiCaprio delivers what many consider a career-defining performance as Bob Ferguson, a former revolutionary and civil rights activist who now lives in paranoid isolation with his teenage daughter Willa. DiCaprio portrays Ferguson as a “doting single father on the run who spends his days arguing with history teachers in a cannabis-induced haze—paranoid and devoted to his daughter in equal measure.” His transformation from idealistic revolutionary to burnt-out fugitive showcases the actor’s remarkable range and emotional depth.
Sean Penn plays the film’s central antagonist, Colonel Steven J. Lockjaw, described as “one of the most corrupt Army colonels” who develops a psychosexual obsession with revolutionary Perfidia after she sexually humiliates him during a French 75 operation. Penn’s performance has been singled out as particularly disturbing and compelling, bringing depth to what could have been a one-dimensional villain. Teyana Taylor stars as Perfidia Beverly Hills, the confident and rageful leader of the French 75 revolutionary group, delivering a breakout dramatic performance that has generated significant Oscar buzz.
The supporting cast includes Benicio del Toro, Regina Hall as Deandra (providing maternal comfort to Willa), Chase Infiniti as Willa Ferguson (Bob’s spirited, self-reliant daughter), and Jena Malone in a voice role. Critics have praised the entire ensemble, with Screen Rant noting that “the Oscar buzz is strong for the entire cast.” Hall’s performance, though limited in screen time, provides crucial emotional grounding as a revolutionary who represents “the earnest strength of their cause more than her mother’s bravado.”
Plot: A Father-Daughter Story Wrapped in Revolution
One Battle After Another opens with a revolutionary group called French 75 executing a daring operation at the Mexico-U.S. border, releasing detained immigrants and humiliating military leadership. The opening sequence features “the kind of momentum usually reserved for the climax of an action film and barely slows down from there,” according to Roger Ebert’s review. Perfidia leads the operation alongside Bob Ferguson, and the two eventually become romantic partners and have a daughter together named Willa.
After a 16-year time jump approximately a quarter into the film, Bob is living off-grid in a state of “stoned paranoia,” raising Willa alone after Perfidia mysteriously disappeared. When Colonel Lockjaw resurfaces after 16 years seeking revenge and Willa goes missing, Bob must return to his revolutionary past to find his daughter. At its core, the film is “the story of a father and daughter’s attempt to return to each other,” exploring themes of redemption, the consequences of idealism, and the generational impact of political violence.
Worldwide Box Office Performance
One Battle After Another has collected $179.9 million worldwide through late October 2025, with a domestic total of $65.7 million and international earnings of $114.2 million. The film opened with $22 million in its debut weekend across 3,634 theaters in North America, representing 33.4% of its total domestic gross. Despite consistent holds week over week, the film has struggled to achieve the commercial breakthrough needed to recoup its substantial production investment.
The film currently ranks as the 19th-highest-grossing title of 2025 worldwide according to Box Office Mojo. It has surpassed several notable films including Will Smith’s Seven Pounds ($169.8 million), Gemini Man ($173.5 million), and is closing in on Rian Johnson’s Looper ($176 million). However, it trails significantly behind Snow White ($205.7 million), making it unlikely to break into the top 18 highest-grossing films of 2025 during its theatrical run.
In India specifically, the film collected ₹6.08 crore net over three weeks, with Week 1 generating ₹4.12 crore, Week 2 adding ₹1.13 crore, and Week 3 contributing ₹0.86 crore. The opening day collection was ₹0.5 crore, building to ₹0.75 crore on Day 2 before settling into more modest daily totals. While respectable for a Hollywood release in India, these numbers reflect the film’s niche appeal even in international markets that typically embrace prestige American cinema.
Why the Disparity Between Critical and Commercial Reception?
Industry analysts have identified several factors contributing to the film’s box office underperformance despite near-universal critical acclaim. The 162-minute runtime, R-rating, and politically charged subject matter created barriers for mainstream audiences. The film’s unapologetically political stance—described as “a searing indictment of far-right nationalist movements and complacency” and “a radical and thought-provoking meditation on the necessity of violence in revolution”—may have alienated viewers seeking escapist entertainment during a contentious political climate.
Additionally, the film’s complex narrative structure and Thomas Pynchon source material demanded significant intellectual engagement from viewers. As one critic noted, the film is “a thinking man’s critique of political divisions tugging at the fabric of American cultural cohesion,” which likely limited its appeal beyond cinephile audiences and Anderson devotees. The disconnect between critical enthusiasm and audience turnout mirrors other recent prestige films that struggled commercially despite awards recognition, suggesting a growing divide between critical consensus and mass market tastes.