Leonardo DiCaprio takes on the role of a bumbling, troubled father who rises to the occasion for his daughter. Ideology, lineage, and passwords become irrelevant as DiCaprio commits fully to this unconventional love story. Sean Penn contributes a powerful villainous performance, intensifying the film's conflict. Over two decades in development, Paul Thomas Anderson revitalizes 1950s VistaVision technology, achieving an ambitious work that captures the California landscape with grainy, textured visuals. Johnny Greenwood’s avant-garde score heightens tension, complemented by a riveting car chase that draws viewers in. Anderson’s tenth film is both thoroughly entertaining and visually striking, presenting a memorable father-daughter narrative.

Damien Chazelle, the youngest director to win an Academy Award for Best Director with La La Land, has released a new film that has shocked many viewers. Some might describe it as a “vulgar black comedy version of Singin' in the Rain,” depicting the shift from silent films to talkies in a deliberately crude, tasteless way. Still, this boldness and “filthiness” are so purposeful that they become strengths of the film.

The film struggled to build tension, and Suzuki, the main character, didn't stand out. It almost felt like his role could have been left out, since he barely made an impact on the story. The characters mostly acted independently. Although the synopsis suggests their stories converge, the ending felt unnatural and forced, lacking a genuine sense that everything was meant to connect.