Punch-Drunk Love ★★★★½

The subtext of Jerry Lewis as text while chaos pushes back—Tashlain meets Kubrick with the camera as agent. What is fascinating about Anderson is that he's the opposite of a formalist; he wants his spectators to bring in history/outside sources. In this film, his world is built on forces pushing against Egan. The camera literally forces and pushes Egan into the narrative situations. The non-diagetic sound in PDL—the twisting springs, computer text to speech, inexplicable crashes—dominates the narrative space.