One Battle After Another

Development

Paul Thomas Anderson had considered adapting the 1990 novel Vineland by Thomas Pynchon since the early 2000s, but struggled, believing his love for the novel would get in the way of his ability to fairly rework it.^[15] Instead, Anderson set aside working on an adaptation and envisioned two ideas: one about an "action car-chase movie" and one about a "female revolutionary". One Battle After Another ultimately emerged as a combination of those two stories with some elements of Vineland, particularly the father-daughter dynamic.^[15][16][17]

Casting

In June 2023, Anderson's next film, rumored to star Leonardo DiCaprio, Regina Hall, Viggo Mortensen and Joaquin Phoenix, found its home at Warner Bros. Pictures.^[18] In January 2024, DiCaprio and Hall were confirmed to star, with Sean Penn joining the cast.^[19] DiCaprio reportedly received his standard $25 million fee for his involvement.^[20] In February, Alana Haim, Wood Harris, Chase Infiniti, Shayna McHayle, and Teyana Taylor joined the cast.^[21] Jacob Batalon auditioned for the role of Comrade Josh.^[22]

To land the role of Willa Ferguson, the teenage daughter of the film's central character, Infiniti went through a six-month audition process involving multiple callbacks and camera tests as well as chemistry reads with DiCaprio and Hall. The reads were designed to gauge the rapport between the then-newcomer and her potential castmates, but, said Infiniti, "They felt like the coolest kind of masterclass. I remember leaving the room thinking, 'I would love this part, but even if I don't get it, I'll take that with me forever.'" Infiniti had also been a kickboxing trainer, but she still spent months training in both karate and mixed martial arts that tested her readiness to do her own stunts and handle some intense scenes with Penn.^[23][24][25] "With Willia [sic], it was anybody who's right", casting director Cassandra Kulukundis said of the broad criteria Anderson gave her, adding, "Doesn't matter if they've ever acted before, if they're a star, if I found them in school, if I find them on the street. That was a huge net – if you were between 12 and 25, I was looking at you." Kulukundis was able to narrow the search when she realized how important the physical demands of the part were to the performance. "The moment I saw [Infiniti] dancing, I don't know how to describe it. She's the most unique looking human being I've ever seen." For Kulukundis, Infiniti's ability to hold her own against DiCaprio was also vital. "We tried [DiCaprio] with a bunch of girls and he was really thoughtful and helpful, and we could see the chemistry with Chase. She just kept passing all the tests."^[26]

Filming

Principal photography began in California in January 2024.^[27][28][29] The film (under the working title BC Project)^[2] had filmed for eleven days across Humboldt County in Arcata, Cutten, Eureka, Kneeland, and Trinidad.^[b] Local experts, including the Sisters of the Valley, on which the Sisters of the Brave Beaver in the film was based, were consulted.^[35] Anderson and his crew attended the prom at Eureka High School to make observations about music and fashion trends; students were cast as extras for a key scene.^[36]

On February 3, production moved to Sacramento, with filming at the Sacramento County Administration Building and Sacramento County Courthouse.^[37] A homeless encampment was cleared to allow for filming, sparking controversy.^[38] The former Sacramento mansion of Governor Ronald Reagan was used for exterior shots for the Christmas Adventurers Club's headquarters.^[35]

The production took a two-and-a-half-month break from filming because del Toro had a scheduling conflict with Wes Anderson's The Phoenician Scheme (shot between March and June 2024). When del Toro arrived fresh off the Berlin set of The Phoenician Scheme, with ten days between projects, he stepped into a fast-moving production.^[39][40][41] "I had 10 days to unpack and pack", del Toro said of the 2024 shoot, adding, "Unpack my character in Wes' movie and then get dressed like Sensei and just go. You don't have time to adjust. If you want to jump on a carousel, you generally want time to run and catch up and then jump in. There was none of that."^[41] On location filming also took place in Anza-Borrego Desert State Park and Borrego Springs in May 2024, and El Paso, Texas, including El Paso Streetcars, in June 2024.^[42][43][44] Other filming locations included La Purísima Mission,^[34] the Westgate Hotel,^[45] and the city of San Diego and Otay Mesa near the Mexico–United States border.^[35][46][47]

Cinematography

The film was shot by Michael Bauman on 35 mm movie film using VistaVision cameras, marking his third collaboration with Anderson, following Phantom Thread (2017) and Licorice Pizza (2021).^{[48][49][50][51][52]} Between 75 and 80% of the film was shot on VistaVision.^[53] One Battle After Another is notable for utilizing VistaVision cameras; Brady Corbet's The Brutalist (2024) seemed to revive the high-resolution widescreen 35 mm format from the 1950s.^[48][54][55] "The question was more, 'Is this going to be a reliable enough format for us?' When you see the shots from The Brutalist, [DP] Lol Crawley has got the camera on a tripod. It's just sitting there and we weren't going to do anything like that", Bauman said, adding, "One Battle was always going to be about movement. It had to be handheld; it had to be on Steadicam; it had to be strapped to cars; it had to bounce around."^[48] Bauman described his experience shooting the film as "being on the knife's edge", mostly because it was shot on location instead of a sound stage.^[56]

Bauman revealed that Anderson wanted something in the "vein of '70s cinema", pointing to films like The French Connection (1971) and The Last Detail (1973), explaining that this "stylistic roughness" was "essential" for Anderson in telling the story.^[57] According to Bauman, VistaVision "was a response to television that some of the studios were developing. And instead of it being four-perf vertical, like a normal 35 millimeter camera, this takes the film and puts it eight-perf horizontal, which allows for a much bigger negative space. Each frame is twice the size. And so it's a much richer image." The format was ideal for capturing some of the action sequences in the film, particularly the final car chase sequence.^[57] Bauman further admitted that it was a challenge to figure out how to "blend the richness of VistaVision" to make One Battle After Another "look like a '70s type of film that felt like a lot of the scenes out of The French Connection". He pushed VistaVision to its limits while using and testing it, saying, "This camera system hadn't really been used at this quantity of film because we shot about 1.5 million feet of film for the project [and] hadn't had that kind of level of film run through it in a long time [...] It really underscores the power of shooting on film and what VistaVision is as far as projecting it. It's really a super resting image that has a strong emotional feel to it. The ability to experience that by going to the theater is really unique."^[57]

Regarding the impact and location of the climactic car chase, Bauman said, "The sequence is really a testament to the location being the driving force. When Michael Glazier, the location manager, originally found it, he found it almost like by accident when he was driving after he found the location for the 1776 camp."^[58] To figure out how to capture the scene's "dynamic energy", Bauman and his team worked with Allan Padelford, a veteran stunt coordinator and second unit director best known for designing high-octane car-chase action sequences, and his Padelford Camera Car.^[58]

For the film's color and lighting, Bauman said both he and Anderson referred to the work of Hong Kong filmmaker Wong Kar-wai and The Silence of the Lambs (1991) as inspiration. Bauman also revealed that he and Anderson carried a print of The French Connection with them since they "were always screening film dailies", adding, "Sometimes it was just like, hey, it's time to have a little review, just to make sure your visual palette was in the same direction."^[59] Actor and cinematographer collector Giovanni Ribisi is thanked in the film's end credits for allowing production to use VistaVision cameras that he had personally restored.^[15][60][61]

Post-production

Editing was completed by Andy Jurgensen, who had previously edited Licorice Pizza.^[62] As a frequent collaborator of Anderson's, Jurgensen knew how to best be "fluid" in his work on the film to match his director's sensibilities. Discussing the final car chase sequence, Jurgensen said, "It was shot over a number of days and there really weren't storyboards for it, [Anderson] just had ideas for the beginning, middle, and end. It was really a matter of shooting the cars from the different perspectives [...] We just had to make sure we had all the pieces. I did a string out of all the different perspectives as we were shooting the scenes so that we made sure that we had good moments from all the angles, then it was finding the best bits and starting to assemble. It was just a long sequence going through all of Willa's shots of her eyes, looking at both the rear-view mirror and the side view mirror looking behind at the reflections. You're just slowly kind of whittling down the best fits."^[63] Jurgensen further explained that "it evolved to be what the final [edit] was" and that he was "still adding elements in the final mix", adding, "We went through many edits, but in the test screenings, it was always people's favorite part."^[64]

Additionally, Jurgensen was on location and got to view dailies with Anderson on a vintage VistaVision horizontal projector, which they borrowed from Warner Bros. "I was the only one traveling from editorial, and then I could supervise setting up the screening room and be there for all the screenings, which was really helpful", said Jurgensen. "And then while they were shooting, I also brought my computer system, getting digital dailies and making more notes, assembling stuff. You're with the crew and it's just so much better. You understand what everyone's going through and you're part of the process. But that's Paul's style."^[65]

In February 2024, Variety reported that the film had been greenlit with a $115 million production budget.^[66] In August 2024, The Wall Street Journal reported the budget was "more than $140 million", noting that Anderson's highest-grossing film, There Will Be Blood (2007), only made $76 million, but that "Warner executives say DiCaprio's box-office track record justifies the budget for Anderson".^[67] That month, sources indicated the film had been titled The Battle of Baktan Cross as rumors circulated that it was loosely inspired by Pynchon's Vineland; Anderson previously adapted Pynchon's Inherent Vice (2009) into a feature film in 2014.^[68][69][70]

By August 2025, Variety reported the film's final budget as $175 million, while Warner Bros. said it cost $130 million.^[6] The film is the most costly of Anderson's career.^[71] Deadline Hollywood reported that below-the-line, on location shooting in California cost $101.6 million, with a tax credit of $8.4 million.^[72] By September 2025, Variety reported that an additional $70 million was spent on marketing.^[73]

Beginning in January 2025, the film had multiple test screenings, which reinforced the rumored connection to Vineland.^[74] It marked the first time since Boogie Nights (1997) that Anderson agreed to audience testing; based on the feedback, he cut eight to ten minutes.^[75] There was also a report that Warner Bros. was working with Anderson to refine the film, but did not ask for radical changes.^[76] "We trimmed it down and that was just our normal process", Jurgensen said. According to Jurgensen, Anderson does not like to test his films, but it was something that Warner Bros. requested. Anderson partially agreed to the test screenings because he wanted to know if it played well as a comedy, and, as Jurgensen said, "There are some sensitive things in the movie, both racial things and political things. It was going to be interesting for us to test it in different parts of the country." Jurgensen also added that the tests confirmed that "the humor was working. And luckily, it did confirm, when you're kind of trying to figure out, 'How can we push it a little further? How can we do things?'"^[76] He further noted that the studio was not trying to enforce an ultimatum and did not pressure them to cut anything, saying, "They were supportive. I think the test screenings helped us because they were reacting so well to it."^[76]

The film's title was officially confirmed in March 2025, with Warner Bros. debuting a teaser trailer.^[77] One Battle After Another marked Anderson's sixth feature film collaboration with composer and Radiohead guitarist Jonny Greenwood,^[78] and the sixth with Anderson and first assistant director and producer Adam Somner, who died in November 2024; the film is dedicated to Somner.^[c]

In February 2026, Variety reported that the awards campaign budget for the film was approximately $14 million.^[85]

Music

The score was composed by Greenwood, and recorded with the London Contemporary Orchestra and conductor Hugh Brunt. It was released by Nonesuch Records on September 26, 2025.^[86][87][88] The film also features two songs by Jon Brion, marking Anderson and Brion's first collaboration since Punch-Drunk Love (2002).^[88][89][90]

Theatrical

The film was released on September 26, 2025, following previews on September 24.^[102] It is the first of Anderson's films to be released in IMAX.^[103] The film was previously set to be released on August 8, 2025, but was moved for a potential awards season campaign.^{[75][104][105]} It premiered at the TCL Chinese Theatre in Los Angeles on September 8, 2025, and had a global tour beginning in London on September 16, in Mexico City on September 18, and ending in New York City on September 21.^[106][107] The film also screened at Fantastic Fest on September 23, 2025.^[108]

One Battle After Another was projected in the VistaVision format, with screenings at the Vista Theatre in Los Angeles, Regal Union Square 17 in New York, Coolidge Corner Theatre in Brookline, and Odeon Luxe Leicester Square in London.^[109] The film was also released in other formats, including 4DX, digital IMAX, Dolby Vision, IMAX 70 mm, and standard 70 mm film.^{[109][110][111]}

In January 2026, it was reported that the film would return to select IMAX 70 mm locations to celebrate its Academy Award nominations.^[112]

Home media

One Battle After Another was released on digital streaming on November 14, 2025, and on 4K Ultra HD Blu-ray, Blu-ray, and DVD on January 20, 2026.^{[113][114][115]} It began streaming on HBO Max on December 19, 2025.^[116] The film was released on JioHotstar in India on February 26, 2026.^[117] Streaming analytics firm FlixPatrol, which monitors daily updated VOD charts and streaming ratings across the globe, reported that One Battle After Another became the most-streamed film on HBO Max within the first four days of its release in December 2025. The film also ranked as the No. 1 film globally on the streaming service as of December 23.^[118]

Following the film's success at the 98th Academy Awards, where it won six Oscars (including Best Picture), it received newfound success on the Apple TV store, despite being available to stream on HBO Max. FlixPatrol reported that the film's PVOD success on iTunes surged, with it hitting #1 in the United States as of March 17, 2026, where it also topped the charts in 33 other countries.^[119]

On June 2, 2026, One Battle After Another will be released as a collectible 4K UHD Blu-ray SteelBook.^[120] It will include new bonus features and behind-the-scenes materials curated by Anderson, including camera, lighting and costume tests, a screen test from Infiniti, and a feature-length "making-of" documentary. Additional extras will include a deep dive into the editing process and footage from the film's opening night at the Vista Theatre, plus a 24-page booklet of behind-the-scenes photography.^[121]

Box office

As of March 20, 2026^[update], One Battle After Another has grossed $73 million in the United States and Canada, and $138 million in other territories, for a worldwide total of $211 million.^[7] The film ended up being a box-office disappointment,^{[122][123][124]} falling short of its estimated $300 million break-even point.^{[125][126][127]}

In the United States and Canada, One Battle After Another opened in 3,634 theaters, the widest release for a film directed by Anderson and his first film to debut in wide release.^{[128][129][130]} The film is Anderson's highest-grossing release to date.^[6][73][123] It made $8.8 million on its first day, including $3.1 million from Thursday previews.^[131][129] The film earned $22 million over the weekend, topping the box office and handily marking the best weekend for a film directed by Anderson, topping the $4.9 million earned by There Will Be Blood in its fifth weekend in 2008.^[72][132] In its second weekend, the film grossed $11 million (a drop of 50%), finishing second behind then-newcomer Taylor Swift: The Official Release Party of a Showgirl.^[133]

Critical response

Leonardo DiCaprio, Sean Penn, Benicio del Toro, and Teyana Taylor garnered critical acclaim for their performances and earned Academy Award nominations for Best Actor (DiCaprio), Best Supporting Actor (del Toro and Penn) and Best Supporting Actress (Taylor), respectively, with Penn winning.

Initial reactions were overwhelmingly positive, with multiple critics calling the film a "masterpiece".^[e] On the review aggregator website Rotten Tomatoes, 94% of 438 critics' reviews are positive. The website's consensus reads: "An epic screwball adventure teeming with awe-inspiring action set pieces, One Battle After Another is Paul Thomas Anderson's most entertaining film yet while also one of his most thematically rich."^[140] Metacritic, which uses a weighted average, assigned the film a score of 95 out of 100, based on 63 critics, indicating "universal acclaim".^[141][142] Audiences polled by CinemaScore gave the film an average grade of "A" on its A+ to F scale, while those at PostTrak rated the film four-and-a-half out of five stars, with 74% of audiences saying they would "definitely recommend" it.^[72]

Brian Tallerico of RogerEbert.com wrote that One Battle After Another "is a timeless story of resistance, one that playfully weaves together influences as broad-reaching as the true story of Weather Underground and cinematic depictions of rebellion, but it's also a remarkably propulsive, fun, and eventually moving piece of work about the human beings caught up in the chaotic machine".^[143] Justin Chang of The New Yorker called the film "a father–daughter epic, with an unusually personal gush of feeling. You can count on one hand the number of scenes that Bob and Willa share, but their connection – a swirl of protectiveness, exasperation, and fiercely unconditional love – binds the movie and its madly whirling parts together".^[144] Katie Walsh of the Chicago Tribune called the film a "searing indictment of this particular moment in American history" by which "Anderson balances the sprawling, conspiracy-minded aspects of this yarn with the intimate father-daughter story, which is the heart of the matter".^[145]

Writing for The New York Times, Manohla Dargis called the film "a carnivalesque epic about good and evil, violence and power, inalienable rights and the fight against injustice; it's also a love story. The film speaks to the failures of the past and of the present but insists on the promise of the future".^[146] Also writing for The New York Times, Michelle Goldberg noted that the film "was made in the America that existed before Donald Trump's return" and wondered "if such a forthrightly antifascist film could be produced in Hollywood today".^[147]

Richard Lawson of The Hollywood Reporter wrote that One Battle After Another is "a furious film, a richly engaging and persuasive polemic" in which "Anderson shows a previously unseen aptitude for action and suspense; One Battle After Another is, essentially, a thriller, albeit one teeming with enormous ideas about the collapse and possible rescue of the country".^[148]

Alex Saveliev of Film Threat opened his review by writing that the film "demands to be seen on the largest screen possible to fully absorb the 35 mm VistaVision experience with every cell of your body. Everything about it is grand: its characters, its action sequences, its timely sentiments, even the quieter moments".^[149] Peter Bradshaw, awarding the film five stars and writing for The Guardian, was effusive in his praise. He celebrated the "riff on the now recognisable Anderson-Pynchonian idea of counterculture and counter-revolution", praised the score by Greenwood, and pondered if the "central paternity crisis triangle [is] an image for an ownership dispute around the American melting-pot dream".^[150]

The performances of the cast were also highly praised.^[f] Owen Gleiberman of Variety wrote, "Anderson knows that the quality that liberates DiCaprio is comedy. By having him play Bob as a dissolute stoner addict, discombobulated by his loss of faith, he humanizes DiCaprio and coaxes a great performance out of him."^[159] Tallerico of RogerEbert.com felt DiCaprio gives a "carefully modulated" performance, but he nevertheless singled out Sean Penn's performance as "his best work in years", writing he "flexes his muscles, grits his teeth, and growls his lines, but somehow threads the needle between truth and caricature".^[143] David Sims of The Atlantic opined, "Penn, giving a brilliant performance of cold villainy that could win him a third Oscar, is unafraid of lancing the inherent goofiness of a fascist. DiCaprio plays Bob as a sweetheart rather than a buffoon; he's a tired, strung-out antihero made weary not by his yearslong efforts to fight back but by the relentlessness of the world."^[160] David Ehrlich of IndieWire praised "magnetically self-possessed newcomer/instant movie star Chase Infiniti, whose performance inspires a strange kind of secondhand pride". He also singled out the performances of Penn and Taylor, calling the latter "eruptive [...] steaming with revolutionary zeal" and the former "career-best".^[161]

William Bibbiani of TheWrap was less enthusiastic, describing the plot as scattershot, unfocused, overly long, and the film's themes as shallow, writing that Anderson was "more interested in taking cheap potshots at the film's real-world analogues than actually exploring them".^[162] The Wall Street Journal's Kyle Smith similarly noted the film is "big and brash. Rangy in tone, style and theme, it has so much going on that a single viewing hardly seems sufficient to absorb it all. Whether it's a masterpiece or a hodgepodge will be a matter of some discussion; the reach is evident but the grasp is a little shaky".^[163] Liel Leibovitz of The Free Press described the film as "just another sign that Hollywood has once again driven itself to total moral, artistic, and creative ruin".^[164]

Industry response

During a post-screening panel discussion with Anderson, fellow filmmaker and moderator Steven Spielberg highly praised the film, calling it "insane" and "really incredible", adding, "This is such a concoction of things that are so bizarre and at the same time so relevant, that I think have become increasingly more relevant than perhaps even when [Anderson] finished the screenplay, and assembled [the] cast and crew, and began production."^{[134][184][185]}

The film garnered significant praise by other prominent filmmakers, including Francis Ford Coppola,^[186] Michael Mann,^[187] Paul Schrader,^[188] and Martin Scorsese.^[189]

In November 2025, actress Jennifer Lawrence declared One Battle After Another "the best movie [she's] ever seen" and "the most incredible movie [she's] ever seen in [her] entire life", adding that she "can't remember a time where I ever had an experience like that in the cinema".^{[190][191][192]}

Year-end lists

The British film magazine Sight and Sound named One Battle After Another as the best film of 2025 in its poll of over 100 international critics.^[193] Film Comment, the official publication of Film at Lincoln Center, also polled One Battle After Another as the best film of 2025, writing that the film is "paranoia-driven" with "pulsating action sequences" that "illustrate not ideology but rather the infrastructure of allegiance".^[194] IndieWire's annual critics poll of "The Best Movies of the Year" voted One Battle After Another as the best film of 2025, with a final result of 573 points; 101 of the 148 critics who voted in the survey had it somewhere on their Top 10 ballots, while 43 of those 101 mentions were #1 picks.^[195]

By the end of 2025, IndieWire also reached out to 50 filmmakers and surveyed what their favorite films of the year were, with 20 participants singling out One Battle After Another as one of their favorites. Some of those included were Fede Álvarez, Olivier Assayas, Clint Bentley, Oliver Laxe, and Michael Mann; Laxe called the film "a testament to the excess of our times, on every level".^[196]

In his list of "The 20 Best Movies of 2025", David Fear of Rolling Stone called the film a "thundering, dizzying epic" and "a timeless tale about revolutionaries taking care of their own while getting the next generation to pick up the flag".^[197] Fear also highlighted the performances of Penn and Taylor in his list of the "17 Best Movie Performances of 2025".^[152] Taylor was also named in the "25 Best Movie Performances of 2025" list by The Hollywood Reporter.^[154] Mark Guiducci of Vanity Fair wrote that "there is much to love about the 10th film from Paul Thomas Anderson, but Taylor is at the top of the list", as Taylor appeared in the publication's year-end list of the best performances of 2025.^[153] Penn's villainous portrayal of main antagonist Col. Steven J. Lockjaw was considered and ranked by multiple critics as one of the best villain performances of 2025.^{[198][199][200][201][202]} Lockjaw has also been compared to real-life former commander-at-large of the United States Border Patrol Gregory Bovino, whose aggressive tactics drew backlash and controversy.^{[203][204][205]}

In December 2025, Collider's William Smith ranked it 9th on his list of the "10 Greatest Movie Masterpieces of the Last 10 Years", calling it one of "the most imminent" and "entertaining" films of 2025, and adding that its "righteous indignation" and "bold politics" feel "particularly pointed and appropriate for the current state of America".^[206] Diego Pineda Pacheco, also writing for Collider, ranked it 8th on his list of the "10 Greatest Movie Masterpieces of the 21st Century", writing, "PTA has been delivering masterpiece after masterpiece since the '90s, but this one truly does feel like the epitome of his career, an artistic achievement unlike any other he's made before [...] One Battle After Another is full of fascinating characters and exceptional performers making it an enthralling dramedy packed with exquisite creative choices."^[207]

In February 2026, Collider ranked it as the best film of 2025 in their list of "The Greatest Movie of Every Year of the 21st Century (So Far)", writing that it is "a comedic epic of sorts" and "moves at a mean pace and never drags", adding, "The tension is never undermined by the comedy and the comedy never clashes with the parts of the film that are meant to be a bit more serious. It's incredibly well-balanced for something so grand and ambitious, and it seems likely that it'll continue to remain entertaining, relevant, and distinctive as the years march on further."^[208]

The film also ranked 1st on the "Readers' Choice" edition of The New York Times' list of "The Top Movies of 2025, According to Times Readers".^[209] Additionally, One Battle After Another appeared on former President of the United States Barack Obama's annual list of his favorite films of the year; though not ranked, the film appeared at the top of the list.^{[210][211][212]}

One Battle After Another appeared on more critics' annual "best of" lists in 2025 than any other film, including the most 1st-place votes.^[213] According to CriticsTop10.com, it was included on 735 lists with 212 ranking it at the top spot.^[214]

Accolades

The American Film Institute and National Board of Review named One Battle After Another as one of the top 10 films of 2025.^{[215][216][217]} At the 31st Critics' Choice Awards, it won three awards, including Best Picture and Best Director for Anderson.^[218] It was also nominated for nine awards at the 83rd Golden Globes, receiving the most nominations of any film that year; del Toro, DiCaprio, Infiniti, Penn, and Taylor all received nominations for their performances.^[11] Ultimately, the film won four Golden Globes: Best Motion Picture – Musical or Comedy, Best Director, Best Supporting Actress – Motion Picture (Taylor), and Best Screenplay.^[219][220] It also became the most-nominated film in the history of the Screen Actors Guild at the 32nd Actor Awards, with a record-breaking seven nominations; Penn won the award for Outstanding Performance by a Male Actor in a Supporting Role.^{[221][222][223]}

At the 79th British Academy Film Awards, the film led the nominations with fourteen overall, winning six, including Best Film and Best Director.^[224] Additionally, at the 98th Academy Awards, the film received thirteen nominations, including Best Picture, Best Director, Best Adapted Screenplay and four acting nominations (for del Toro, DiCaprio, Penn, and Taylor), the second-most of any film that year.^[225] The film went on to win six Oscars: Best Picture (Somner,^[h] Murphy, and Anderson), Best Director (Anderson), Best Supporting Actor (Penn), Best Adapted Screenplay (Anderson), Best Film Editing (Jurgensen), and Best Casting (Kulukundis), becoming the inaugural recipient for the latter.^{[226][227][228]}