Now this is rare.
How One Battle After Another uses ambiguity where most films use instruction / The difference between what a writer believes and what their characters believe / Why “confusion” can be a feature, not a bug / The cinematic tricks that signal how you’re supposed to feel — and the ways Paul Thomas Anderson avoids them / And why, underneath the chaos, One Battle After Another is secretly a traditional story. THIS CHANNEL IS BRAND NEW - Help us survive and thrive by subscribing. And: Do you have a question or suggestion for a video? Drop it in the comments! ABOUT PILLARBOXER: pillarboxer is about what works and doesn’t work in stories on screen — for movie fans who are obsessed and curious, and for screenwriters who want improvement and success — hosted by writer-producer Bede Blake. ABOUT BEDE: Bede is a BAFTA-winning screenwriter, showrunner, executive producer and fanboy of stories for the screen, having created, developed and scripted series internationally on networks, channels and streamers including Netflix, Disney, BBC and Sky. He has won or been nominated for awards including a BAFTA, an International Emmy, a Writers Guild of Great Britain Award, a British Screenwriters Award, and a Royal Television Society Award.

This killed it before it even began.

Like it or not, he makes good movies

One Battle After Another, A White Man's Wet Dream | @Jouelzy

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Huh. Did not realise that.

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The Cinematic DNA of One Battle After Another

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