{"id":60936,"date":"2025-09-27T17:12:15","date_gmt":"2025-09-27T15:12:15","guid":{"rendered":"https:\/\/www.outono.net\/elentir\/?p=60936"},"modified":"2025-09-29T17:47:12","modified_gmt":"2025-09-29T15:47:12","slug":"one-battle-after-another-a-very-woke-film-or-a-simple-parody-of-wokism","status":"publish","type":"post","link":"https:\/\/www.outono.net\/elentir\/2025\/09\/27\/one-battle-after-another-a-very-woke-film-or-a-simple-parody-of-wokism\/","title":{"rendered":"'One Battle After Another': A very woke film or a simple parody of wokism?"},"content":{"rendered":"

This week, a new feature film by Paul Thomas Anderson, titled \"One Battle After Another,\" hits theaters.<\/p>\n

A few notes on 'Fly Me to the Moon' and 'A Big Bold Beautiful Journey'<\/a><\/rel>
\n'Weapons,' a disconcerting mystery horror film directed by Zach Cregger<\/a><\/rel><\/p>\n

The film begins by focusing on a fictional far-left terrorist group, the \"French 75,\"<\/strong> inspired by violent far-left groups that emerged in the 1960s and 1970s. Leonardo DiCaprio plays this group. His main rival, in this case, is Sean Penn, who plays a racist and unscrupulous police officer. The film also explores far-right secret societies<\/strong>, in this case inventing a fictional white supremacist and antisemitic organization. The film is a rather surreal black comedy that is as unclassifiable as Magnolia (1999)<\/strong>, one of the director's best-known works.<\/p>\n

<\/a><\/p>\n

To tell the truth, at times one might wonder whether this is a \"woke\" film or a simple parody of wokism<\/strong>, a word used to refer to the new extreme left that has emerged in recent years in the United States, with a cocktail of ideological fanaticism and detachment from reality<\/strong> that has ended up provoking more rejection than support. To tell the truth, this extreme left is portrayed in the film as a gang of lunatics<\/strong> who want to impose their ideas through terrorist acts and robberies. The doubts that the film generates about whether it is a glorification or a parody are due, in my opinion, to the fact that this left has become a parody of itself<\/strong>.<\/p>\n

<\/a><\/p>\n

It must be acknowledged that Anderson has been habitually ambiguous in his presentation of both extremes, but he cheats<\/strong> by presenting the far right as something linked to political power, while the far left is shown as a reaction to that power. The reality is that wokeism has been widely promoted by political power<\/strong>, both in the United States and in some European countries, and has ended up becoming a business that moves a lot of money and a lot of influence<\/strong>. This trap is one of the aspects that I disliked about this film, which undoubtedly has many cinematic merits, but they are hampered by this political bias.<\/p>\n

<\/a><\/p>\n

Personally, I was skeptical about whether this movie was worth watching<\/strong>, and to be honest, I wouldn't spend another 162 minutes of my life watching it. It's not my kind of movie.<\/strong> Of course, there's no accounting for taste. Here's the movie trailer:<\/p>\n