Leonardo DiCaprio in ‘One Battle After Another’ Offers Cinematic Thrills

By Yasuko Onda / Yomiuri Shimbun Senior Writer

10:30 JST, October 17, 2025

The American film “One Battle After Another,” now in theaters, is one of this year’s most talked-about films, offering a full dose of cinematic pleasure.

Starring Leonardo DiCaprio and written and directed by Paul Thomas Anderson, it tells the “after” story of Bob (played by DiCaprio), a man who once engaged in armed struggle and passionate love as a revolutionary.

Sixteen years after he attempted to leave his past behind for various reasons, his daughter Willa (Chase Infiniti), whom he has raised alone, has grown into a spirited teenager. Bob has become an old-fashioned, stubborn father — in other words, an ordinary middle-aged man — precisely because of the peace in his life. But when his archenemy launches a surprise attack and kidnaps Willa, Bob can no longer stay in his ordinary ways.

Thus begins a dynamic chase filled with thrills, laughs and excitement. It depicts the standoff with his archenemy, military man Lockjaw (Sean Penn), camaraderie with the ever-reliable karate dojo “Sensei” Sergio (Benicio Del Toro) and heartfelt bond with Willa — all through action-packed sequences (particularly the car chase at the location the film’s production dubbed “the River of Hills”).

In fact, the women in the film, Bob’s wife, the charismatic revolutionary Perfidia (Teyana Taylor), and his comrade Deandra (Regina Hall), are also standouts. The story also focuses on how their passion for justice is passed on to Willa, with Bob as conduit.

During the film, the song “The revolution will not be televised” can be heard. It’s by Gil Scott-Heron, often called the godfather of rap, whose musical career intertwined with sociopolitical spheres.

Currently on display in Tokyo is “Innervisions,” a solo exhibition by Portuguese director Pedro Costa, who had once been set to make a film with Scott-Heron but was unable to complete it as the musician died during production. It is a unique exhibition where visitors can engage with Costa’s life’s work — films about African immigrants — in a completely darkened exhibition room. The exhibition runs through Dec. 7 at the Tokyo Photographic Art Museum.

The title is taken from Stevie Wonder’s 1973 album, which had a major influence on Costa. Wonder, too, was an admirer of Scott-Heron. The worlds of Anderson’s and Costa’s films could appear distant, but connections are there. I felt the connections when I heard Scott-Heron’s song in the film.