Jenna Larson

Really interesting take on #revolution didn’t feel like it was saying much like NEW but it definitely felt cathartic and was a new perspective it felt very personal 

It’s interesting being related to #swamprats re: the cost of political extermism

Takes I Like: the film also deeply examines post-modern ideas of what it means to resist: ideas of self-serving, ego-driven resistance like the French 75 versus the community and compassion-driven resistance of Benicio and his Underground Railroad.

Every member of the French 75 besides Bob and Regina Hall ends up either killed or turning on their fellow members to save their own interests. Jungle Pussy’s self-serving monologue is interrupted by Presidia getting trigger happy on a black police officer simply doing his job. This film has A LOT to say about the nuances of activism and properly directing one’s anger.

Unironically PTA intentionally makes the French 75 vainglorious and reckless, ultimately accomplishing little. Contrast that with Sensei’s deep, systematic assistance of immigrants and you see the points the film is making about extremism versus community and compassion.

It’s also a film about the post-modern, terminally online way many of us approach ideas of resistance and activism. The radio guy argues semantics and espouses “triggers” over proper procedure with Bob, ultimately getting in the way of previous time to actually make a difference in saving Willa. Characters are either woefully inept with modern technology or glued to their phones. A phone becomes a great point in contention on the safety and anonymity of a revolutionary family in hiding. Willa’s friend identifies as non-binary and an activist, but immediately sells her out when faced with the prospect of jail time. The film asks us to examine how much we are doing is actually beneficial to our fellow humans versus semantics for the sake of posturing.

Every central character pays a price because One Battle After Another shows us the human cost of extremism. Bob becomes a worn-down and paranoid man, turning into a hollow version of his former self. Perfidia sacrifices her family for her cause at first, and later, for her survival. 

Lockjaw chases blind power and validation from white supremacists. The French 75 and Christmas Adventures Club, both groups, represent the extremists of our political sphere. 

But between the revolutionaries and authoritarians, the burden falls in the middle, on people like Willa, who endured wounds that no words can heal. Extremism demands sacrifice, so the movie’s ending doesn’t promise victory, but acknowledges the endlessness of this cycle.