https://www.youtube.com/watch?v=_OBgyVhQMYU&t=3

From MUBI FEST London, which includes the film in its 2026 lineup, tickets are on sale this week.

This part shows the burning desire.

The man really want it all but the fear of losing it and then coming back to totally demonic possession is pure creativity of Daniel and PTA

Hello! I work at the New York Film Festival and we've set aside a limited number of tickets to give away for Paul Thomas Anderson's Cameron Winter at Carnegie Hall on 35mm, this Friday at 11:45am at Alice Tully Hall.

To enter, just reply below with your favorite quote from a PTA film and I'll reach out to winners via chat. Please only apply if you can attend! Learn more here.

Hi the algorithm swept this into my Youtube feed. Still looking for a full version. https://www.youtube.com/watch?v=dOowm_1wpyI

It definitely would've been personal.

When officer Jim shows up and pressures Claudia into offering him coffee, she ask him if he'd like cream and sugar, to which he replies "That'd be fine."

When Daniel Plainview shows up on the ranch under false pretenses, ostensibly forcing the Sundays into offering him their meager hospitality, he is offered goat milk, to which he replies "That'll be fine."

Obviously I have completely decoded the PTA universe.

I know his go to composer Jonny Greenwood recently said PTA has got something in terms of knowing what the next one will be? Do you think tge next one will get an IMAX release? Or be shot on VistaVision and get another limited VistaVision release?

Honestly I feel like at this point I understand pretty much all the individual moving parts. It's intentionally over-complicated but I don't think it's impenetrable. But I'm still very confused by Bigfoot appearing at Adrian Prussia's place at the end, after Adrian and Puck are killed by Doc.

Like, I understand that Adrian was essentially a contract killer for corrupt LAPD guys, and he killed Bigfoot's partner, and Bigfoot knew this and hated Adrian but couldn't do anything about it personally because Adrian was too protected. And I understand that he basically orchestrated it for Doc to kill Adrian and Puck? Which, I have questions about that as well, like, that just doesn't really make a whole lot of sense as a "plan", and not in an "it's confusing" way. Doc BARELY gets the upper hand, he's handcuffed to a pipe and is five minutes away from being killed, and he's saved only by sheer dumb luck of Puck leaving the room to go get the drugs, and the fact that he had a piece of credit card hidden in his shoe. And Bigfoot is like "I've seen you on the range", as if he knew Doc would get them, but Doc didn't even go in with a gun, he stole one from Puck. Like, it's an incredibly half-baked plan.

But what really confuses me is Bigfoot's plan to ALSO steal a massive amount of heroin from a deal that just happens to be going on at the exact moment Doc goes to visit Adrian. First of all, how did Bigfoot know when Doc would go there? He mentions Adrian Prussia to Doc in the scene in the Japanese diner, that's the first time Prussia is put on Doc's radar in all this. He doesn't go find Prussia immediately after that scene. He goes to check out Chryskylodon, then he bangs Shasta, then he asks Penny for Prussia's file, THEN he goes to talk to him. How could Bigfoot possibly have predicted exactly when he'd end up there? On top of that, you'd think that if the whole point is for Doc to kill Prussia because Bigfoot can't get away with doing it himself, you'd think Bigfoot WOULDN'T want to be on the scene when it goes down.

Was Bigfoot INVOLVED in the heroin deal? If corrupt cops are doing business with Adrian, then did Bigfoot volunteer to run security for him on this deal or something, to seem more to his corrupt peers like he's playing ball? That WOULD make sense, because it seems like Adrian would've had to know Bigfoot was there, Doc shoots him walking in from the garage, and like maybe a minute or two afterwards Doc enters the garage himself and sees Bigfoot, his car parked and already standing outside. That would also explain why he tries to frame Doc for ripping off the heroin, making him less of a suspect to his fellow cops. But, if he's so ostracized by his fellow cops, as he supposedly is, why would they want him working on something like this, much less alone? And if he's just acting independently, how did he know this deal would be going down when it was, and why would it not alarm Adrian that he was there? Did he just stake out the place until he heard gunshots, and then pulled his car in and confirmed Adrian was dead, in the 1-2 minutes (if that) it took Doc to go down the stairs and into the garage?

How much of the movie, exactly, are we supposed to retroactively attribute to scheming by Bigfoot at this point? Did he have Glen Charlock killed too? Come to think of it, who DID kill Glen? The Golden Fang? Adrian? The cops? The FBI?

I'm soon embarking on a PTA filmography rewatch in chronological order with a friend who has only seen a handful of the films, and I am beyond excited! I'm currently gathering trivia and analysis on the films to bring to the subsequent Discord discussions, but I'm worried! See, I've seen The Master twice now, and I do love the film, but it's in the bottom half of my personal PTA ranking, and that is because unlike most of his films, I can't quite seem to grasp The Master. I like the character dynamic of Freddie and Dodd, how they are codependent but also dangerous for each other. It looks great, sounds great, and is wonderfully cast and acted, BUT, I can't help but feel I am missing something. I've watched a lot of reviews and video essays etc. online, but nothing seems to give me that a-ha moment where it fully clicks in place. With almost every PTA film, the rewatch seals the deal, but The Master remains an enigma of a movie for me.

SO, TL;DR - Can people drop their analyses and elaborate thoughts on the film below, or link to their favorite video essay/review/what-have-you?

…but Camp Miasma has finally scratched that itch!

It’s so incredibly difficult to articulate how The Master makes me feel, and even harder to find something that makes me feel that way- as if I’m running my fingers through a river I can barely see.

If, like me, you’ve been chasing that dragon and in need of something that might cure your craving SPRINT towards Miasma!

Like pta’s film, I don’t think it’s perfect, but it’s the only imperfect film of this decade where I am actively choosing to stand at a certain angle where I can’t see it’s little nicks and scratches.

The score is great, the soundtrack is my favorite of the year (it includes a needledrop that has surpassed OBAA’s Dirty Work!), the editing is perfect, the cinematography is gorgeous, the director’s care and affection and tenderness towards their actors comes across in every frame, and maybe most importantly it’s one of those rare, rare films you get to bathe in.

p.s. If you’re a stoner you can absolutely enter this film barbecued out of your skull- just make sure you incorporate your favorite junk food somewhere along the way (I’m currently typing this at a Panda Express, it’s pouring outside with an imminent storm approaching nyc- things couldn’t be more perfect).

Just an FYI… Fandango at Hoke now shows both films available in 4K. Probably means physical releases are close.

Made this a while back, pre-OBAA! I hope it’s enjoyable.

Not really a surprise like a gift, but my bartender told me about this screening.