Essential Films to Watch After Paul Thomas Anderson’s Latest Revolutionary Epic
Paul Thomas Anderson’s newest cinematic achievement stands as an exhilarating exploration of American revolutionary spirit, weaving together references to decades of rebellious cinema. This carnival-like experience earned an impressive 13 Academy Award nominations, placing it among cinema’s most celebrated works alongside classics like From Here to Eternity, Mary Poppins, Who’s Afraid of Virginia Woolf?, and The Fellowship of the Ring. While facing competition from Sinners and its record-breaking 16 nominations, Anderson’s film remains a remarkable achievement.
The following ten films explore themes of radical activism and its consequences through diverse lenses and cinematic styles. Several directly influenced Anderson during his creative process.
Running on Empty (1988)
Anderson himself has endorsed this 1988 drama as complementary viewing during his guest programming stint on TCM. The film chronicles former anti-war radicals, portrayed by Judd Hirsch and Christine Lahti, who have lived underground since the 1970s, constantly evading their past. Now settled in another new location with fresh identities, their teenage son Danny, played by River Phoenix, yearns for normalcy, especially when a music teacher recognizes his talent and seeks to learn more about his mysterious family background. While lacking the action sequences and satirical elements of Anderson’s work, the thematic connections run deep.
How to Blow Up a Pipeline (2022)
This adaptation transforms a non-fiction work into a gripping action-thriller, following eight committed activists planning to sabotage an oil pipeline across two locations. The film, like its source material, argues that property destruction pales in comparison to environmental devastation. However, the personal cost of such extreme commitment weighs heavily on those involved.
BPM (Beats Per Minute) (2017)
Set during the early 1990s AIDS epidemic, this ensemble piece centers on HIV-positive ACT UP activist Sean, played by Nahuel Pérez Biscayart, and his relationship with newcomer Nathan, portrayed by Arnaud Valois. The film examines ACT UP’s evolving activism and internal strategic conflicts, exploring the moral boundaries every movement must navigate. Directors Robin Campillo and Philippe Mangeot drew from their own ACT UP involvement, lending authenticity that contrasts with Anderson’s fictional activism narrative.
Up Tight (1968)
Ruby Dee and Julian Mayfield co-wrote and starred in this adaptation from blacklisted director Jules Dassin, reimagining a 1925 Irish Civil War novel in 1960s Cleveland following Martin Luther King Jr.’s assassination. Mayfield’s Tank embodies the complexities of Black political struggle during an era when the non-violent Civil Rights Movement had achieved both remarkable success and devastating failure. Despite Tank’s sacrifices for the movement, including job loss and imprisonment, his friends question his dedication as more radical revolutionary movements emerge. This distrust becomes a destructive prophecy in this appropriately furious thriller.
V for Vendetta (2005)
While the political messaging differs from Alan Moore and David Lloyd’s source graphic novel, this superhero film operates on deeper levels than most genre entries, notably popularizing the Guy Fawkes mask as an anti-establishment symbol. Hugo Weaving delivers a compelling performance despite working primarily behind that iconic mask, portraying a terrorist-freedom fighter opposing a fascist totalitarian government. Originally influenced by Margaret Thatcher’s Britain, this 2005 adaptation speaks to the George W. Bush era, themes that feel disturbingly contemporary. Natalie Portman co-stars as Evey Hammond, an ordinary citizen radicalized following a police assault.
The Company You Keep (2012)
Robert Redford directs and stars alongside Shia LaBeouf in this thriller about a defense attorney harboring a dangerous secret. For decades, Jim Grant has evaded federal authorities for a bank robbery and murder committed during his Weather Underground days. LaBeouf’s ambitious reporter Ben Shepard threatens to expose Jim’s carefully constructed life, but complications arise when he contacts the original arresting officer, played by Brendan Gleeson, and a former Underground member, portrayed by Julie Christie, who might exonerate Jim. The film examines how past choices persist while questioning whether 1960s idealism achieved meaningful change.
The Battle of Algiers (1966)
Gillo Pontecorvo’s hyper-realistic masterpiece explores the explosive conflict between Algerian nationalists and French colonial forces during a three-year war. While slightly sympathetic to Algerians reclaiming their homeland, the film acknowledges that the guerrilla fighters’ violent tactics complicate any simple moral judgments. This challenging work remains shockingly relevant, and Anderson includes a meta-reference by showing his protagonist watching this very film.
Dog Day Afternoon (1975)
Al Pacino and John Cazale portray Sonny and Sal, inexperienced bank robbers in this crime thriller based on actual events. Sonny desperately needs money for his transgender partner’s gender-reassignment surgery, leading to a botched heist with friend Sal. The resulting violent standoff with police becomes a media circus. Focusing on queer liberation themes, the movie critiques counterculture failures while boldly challenging police authority. Remarkably progressive for its era, the film treats Sonny’s bisexuality and marriage to a transgender woman with respect rather than ridicule.
Born in Flames (1983)
This low-budget radical feminist pseudo-documentary offers compelling counter-programming. While Anderson’s protagonist drifts after his activist period, this film imagines that socialist idealism succeeded but left battles unfinished. Adele Bertei plays Isabel, operating pirate radio collective Radio Ragazza in an alternate socialist America, while Honey runs competing Phoenix Radio. Facing increasing government oppression, these women and their factions realize that true liberation requires action beyond mere rhetoric.
Repo Man (1984)
A confirmed Anderson favorite, this Reagan-era satire matches his latest work more in anarchic tone than narrative structure. Alex Cox’s cult classic features Harry Dean Stanton recruiting Emilio Estevez’s Otto Maddox into Los Angeles automobile repossession. When Otto steals an unusual 1964 Chevrolet Malibu, he becomes a target for government agents, fellow repo men, and various other parties. The federal interest stems from the car’s extraterrestrial cargo, creating a wild chase scenario that perfectly captures 1980s absurdity.