You'll either love this or hate it. Here's why:
The first posters for One Battle After Another just landed, and at first glance, they look like standard Hollywood fare—moody lighting, dramatic poses, character names dropped like seasoning. Leonardo DiCaprio stares off into the middle distance. Teyana Taylor smolders. But look closer—because what Warner Bros just did isn't just promotional fluff. It's a tactical strike.
- You’ll either love this or hate it. Here’s why:
- Here’s the uncomfortable truth: They’re not selling the stars. They’re selling the chase.
- But here’s what everyone’s missing: This isn’t just about the plot—it’s about control.
- Imagine if Kubrick had Instagram. This is what his stories would look like.
- Would you chase a film that doesn’t want to be caught?
Like a chess move three turns ahead, these character posters are quietly redefining how studios position star ensembles in a fractured attention economy. In a world where trailers are dissected like autopsies and movie posters vanish in a scroll, these images are unusually disciplined—and strangely disruptive.
Here's the uncomfortable truth: They're not selling the stars. They're selling the chase.
Let's break this down. DiCaprio and Taylor aren't paired up for vanity. They're posed like fugitives. Not sexy Bonnie and Clyde. More like cornered prey. And that's exactly the vibe One Battle is apparently gunning for—a madcap, blackly comic “epic chase movie,” where every character is running from something (or someone).
In this case, that someone is Sean Penn's Col. Steven J. Lockjaw—a “white supremacist” with the restraint of a jackhammer and the emotional maturity of a sledgehammer. His affair with Taylor's character goes sideways. She ditches him. Hooks up with Bob (DiCaprio). And then? Cue the pursuit. The film's been described as slapstick meets pitch-black drama—a tonal cocktail that sounds like Burn After Reading filtered through a 3 a.m. fever dream.
But here's what everyone's missing: This isn't just about the plot—it's about control.
Warner Bros has test-screened the film five times. It's been cut by 20 minutes. The new runtime? 150 minutes of chaos, tension, and (if reports hold) absolute tonal whiplash. So why the cold, contained posters? Because this is damage control dressed as design. You don't show chaos in the teaser—you show anchors. Stars. Eyes the audience can grab onto before the story whips them around.
And it's working. Quietly. Efficiently. Like a Netflix thumbnail engineered by a psychopath.
Imagine if Kubrick had Instagram. This is what his stories would look like.
PT Anderson has always played 4D chess with audience expectations. Think Inherent Vice marketing like it was a detective noir. Or Phantom Thread hiding its gothic teeth behind couture and candlelight. These posters for One Battle After Another feel like that same sleight of hand. They're placeholders—for now—but also warnings. This isn't prestige cinema. It's prestige chaos. And the studio's betting you'll follow the stars straight into the mayhem.
Would you chase a film that doesn't want to be caught?
That's the dare Anderson's throwing down. And these posters—tight, austere, a little haunted—are the bait.
Comment below: Do these character posters intrigue or underwhelm you? Are we being sold a genre flick in auteur clothing—or something way weirder?
