Hold there, just a minute. This article contains spoilers for "Singleon" and "One Battle by the other".

In the most optimistic future I can imagine, we see the 2025 films with a kind of grateful nostalgia - a thank you for the political pandemonium and cultural chaos they did not last, and instead became a dressing of windows for a very specific cinema. It's stretching, I know. So far, all we have are two special films showing contradictions, groteskers, violence and paranoia from the present moment. I speak, of course, about Paul Thomas Anderson's "one battle after another" And Ary Aster's "Edenington".

Posted for only a few months and was filmed against similar backgrounds in the US southwest, these two films vary quite strict when you just look at the Synopes. Singleon follows the small city rivalry of Sheriff (Aoakin Phoenix) and Mayor (Pedro Pascal) in the middle of the Kovid-19 pandemic. There is a wide commentary on great technology, a culture of conspiracy and power on the Internet to infect and isolate the brain. On the other hand, "One Battle by Other" is a classic Hollywood Action Film-Army Film, at the center of the militant revolutionary group and the outcome of their actions against the US government and the military-concrete, growing military and police campaign against undocumented immigrants.

Both films are deeply grounded in the current American political moment, but that is the way everyone explores the mania of that moment in which they really reflect each other. Although Anderson's directorial feelings usually rely on the artistic Hollywood drama, and Aster is towards the disturbing kingdom of horror, both finding an inadvertently medium -sized level in their often absurd, a completely huge portrait of contemporary American tension.

While both films cover different angles of the current American cultural landscape, so to speak, they are subjects that overlap extensively. At Singleton, the violence that breaks out on the streets of the New Mexico title city is fueled by the growth of paranoia in the era of pandemic and isolation, but the real collapse of the characters in madness and despair power the frivolous, tight forces behind the scenes. Sheriff Cross's wife, Lewis (Emma Stone), has been transferred from a religious cult of conspiracy on the Internet, while her mother, stuffed in the house, falls into the canon rabbit hole. These digital drivers of radicalization are set up against the project to raise the data center in the city - the one that Mayor Garcia, for his entire public background of progressive ideas, bribes to break.

The protests also form the basic piece of "one battle after another", when the grotesque Colonel Lokjav (John Penn) will carry out a full military strike on the city of Baktan Cross under the auspices of eradicating the alleged underground immigrant network. His real motivation is the finding of Villa Ferguson (Chase Infiniti), the daughter of former French 75 revolutionaries Bob Ferguson (Leonardo DiCaprio) and Perfidia Beverly Hills (Tejana Taylor). A sexual encounter with Perfidia 16 years before he led Lokjav to suspect he could be a villa's biological father, who would throw a key in his application in the White Surreal Cult called a Christmas adventurous club.

Once again, Kabal illuminates the blowing fuses on the streets of Baktan Cross. Both films show more serious violence from external agitators - Lokjav agents in the "One Battle" case and More shaded militants in Eddington, Although the film suggests that they may have been sent by the financiers of the massive data center in the city.

Even with all these narrative and thematic parallels, "one battle after another" and "single" would not feel so predetermined for double work treatment, if not for the specific tone they take in their stories of political turmoil. And the Phoenix Sheriff and Penn Lokjav Colonel - Men of Law Enforcement, though massively different proportions - are painted in equal shades of unfortunate, unfortunate, incapable and deeply cruel. They both carry out brutal violence from anxiety about the concept of masculinity. Both end up their stories in grotesque ways that makes you want to look away from the screen, even if you believe they eventually got what they deserved.

His history of mutual relations has revealed, Lokjav has double death by the cult that longs so desperate (to the point of tears, in his last scenes) to be part of. When the skull rifle blast does not finish it, they end it with fraud and improvised gas chamber before throwing it out of the trash - aesthetic Nazism with the least subtle variety. Cross also survives bullet wounds that first look fatal, leaving an extremely disability mayor of the mayor of the city fully sold to the same great technological interests as indirectly driving to madness.

Anderson's new Hollywood sensibilities provide the only traditional "happy ending" in any film, with Villa taking over her parents' revolutionary tendencies and carrying the torch for the next generation. But even with that positive trembling in the last moments, the film ceases far from providing a blunt to violent violence-explicitly and implicit-to what America calls.