Digger (2026)
Since the start of his career with the 2000 film Amores perros, Mexican filmmaker Alejandro González Iñárritu has been obsessed with understanding the minds of complex men, often men suffering from an incredible amount of ego. From the pretentious artists of Birdman and Bardo to the smaller tales of broken men in 21 Grams, Biutiful, and The Revenant, the provocative filmmaker has always been willing to use these figures to explore something more universal. The same can be said about his newest film, Digger. Set in an alternative universe, Digger begins with the start of a crisis. Wealthy oil tycoon Digger Rockwell (Tom Cruise) is anxiously awaiting the arrival of his vet, who will take a look at his sick cat, when he gets a call from his drilling site on a glacier in Greenland. Digger tries to downplay and ignore the warnings coming from the glacier, which is experiencing several issues as a result of a methane leak, creating an unstable and unsafe situation. Digger is not only trying to extract as much oil as possible from the Greenland glacier before his contract expires, but is also in a precarious spot with a drilling site in Alaska. Rather than accepting the facts of the problem, Digger takes the more convenient option of shoving it to the side. This time, however, this ignorance is not excused as the methane leak causes a massive explosion, killing everyone on the glacier and displacing it, sending it floating into the sea on an unstoppable collision course with the European coast.
This setup might sound like the start of a clearer and simpler parable for modern politics, obviously taking aim at the modern administration and the incompetence shown in their choices, often prioritizing money over basic decency and care for humanity's well-being. This angle is only elevated when the film universe's dying conservative leader, President Compson (John Goodman), joins the picture, playing an over-the-top satirical take that is undoubtedly attempting to mirror Donald Trump. The film continues to reinforce this identity, poking fun at real-life decisions like the United States leaving the Paris Agreement, with every line becoming more hammy and on-the-nose than the last. Then, however, the film undergoes one of the most radical acts of change that any film has gone through in the last decade. What emerges from this act of diastrophism is something far more complex and intelligent than what was originally presented, showing a self-awareness that might just lead to one of Iñárritu's best overall works. It also, tragically, makes it one of the most difficult films to talk about while avoiding giving away spoilers.
Digger is not a film for those who want to watch a film without having to engage or be challenged — when it comes to its message on climate change and the modern age of consumerism, the film is unafraid to point the finger back at the audience, calling them out on their own complicity with the same horrors they are quick to outwardly reject. Specifically, in a jaw-dropping monologue from Cruise, the film quite literally begins to yell at the hypocrisy of modern convenience. In order for life to exist in the way that people enjoy, there must be a darker underbelly — the film is poignant as it digs into the concept, never being subtle but also feeling necessary in its directness. Digger does not want this conversation to be open to interpretation where the audience can easily deflect; it wants to challenge the viewer. Many audience members will still reject this message because of the uncomfortable nature of the thought, especially as the film directly presents a world that is falling apart due to the consequences of those actions. However, the film never feels unfair when it points the blame, always keeping in mind the specific individual failures of those with power, such as Digger, with Riz Ahmed giving a scathing monologue of venom that cuts into its subject right to the bone.
However, it is important to note that this is only part of what Digger is attempting to portray. It is equally interested in the concept of reaction. Obviously, the film follows how Digger and President Compson immediately react to the disaster they are responsible for, but the film also looks at the reaction to tragedy through art. The film produces satire, but it also takes a step back to question the role of satire and the concept of portraying evil through comedy. While the film remains open-ended in this conversation, allowing the audience to form their own opinion, it presents both sides with fire. Particularly in a screaming match between Cruise and an artist named Hannah (Sophie Wilde), the film gives voice to two different ways of digesting tragedy, questioning its own identity and the way it has chosen to showcase men like Digger and President Compson. This is where Iñárritu and his co-writing team of Alexander Dinelaris, Nicolás Giacobone, and Sabina Berman find their most thoughtful angle. Digger quickly transforms into a film that questions recent works of satire like Adam McKay's Don't Look Up and Bong Joon Ho's Mickey 17, asking what is actually funny in the material that is supposed to be making a statement on the modern destruction of humanity.
Because of this, the film's comedy is a difficult one to judge. Just like with Don't Look Up and Mickey 17, Digger is sure to be a polarizing film in its absurd comedic swings, with Goodman especially going as far as he possibly can with the parody. However, for those who find this style of comedy to be appalling and annoying, the film's self-awareness might just be enough to still make the experience worth it. The film itself is aware of the flaws of the experience it is offering, and pulls back to speak on that. At its heart, Digger is not a satire — these scenes are transformed as the film runs. It is impossible to get more in-depth with this side of the film without giving away spoilers that the film has asked to remain hidden from reviews, so to understand more of this angle, one will have to see the film for themselves. Just be aware that at its core, Digger is something completely different than the mentioned examples, and one should not avoid the film out of fear that the experience is comparable.
One of the ways that the film differentiates itself from these examples beyond writing is in the filmmaking. For fans of the director, it should come as no shock that Digger is one of the most beautiful productions of the year. While the grand sets and production design from Dennis Gassner and Richard L. Johnson are perfectly shot by Emmanuel Lubezki, who frames every room to be looming and massive, it is the combination of the film's sound design and unique score from Cosmo Sheldrake that leaves the strongest impression. The film is always bubbling, sounding like air being released underwater and floating towards the surface, which is also the visual the film opens with. There is something distinctly off-kilter in Sheldrake's score, capturing the playful nature of the dystopian genre while never taking away from the bleak foundation of what the film is discussing. In front of the camera, the cast all play their roles perfectly, with Cruise and Ahmed standing tall as the clear two highlights, largely due to the strength of the material given to both. While Digger is a chaotic force of attitude and energy, Cruise finds the small moments between the yelling to really shine with a reflective sadness, questioning his existence and role in the situation as it unfolds.
If anyone is making a bet on what is going to be the most divisive film of the year, Digger feels like a safe choice to put your chips on. The film is quite challenging and offers massive swings that are sure to lose many. However, for those who are willing to ride the wave and engage with the film as it unravels itself, something quite marvelous is found. The film is a layered look not just at the destruction of the modern world, but also at how humans have processed this. While Digger is extremely absurd in delivery, much of what it actually says digs deep, striking at a core of pure truth.
This setup might sound like the start of a clearer and simpler parable for modern politics, obviously taking aim at the modern administration and the incompetence shown in their choices, often prioritizing money over basic decency and care for humanity's well-being. This angle is only elevated when the film universe's dying conservative leader, President Compson (John Goodman), joins the picture, playing an over-the-top satirical take that is undoubtedly attempting to mirror Donald Trump. The film continues to reinforce this identity, poking fun at real-life decisions like the United States leaving the Paris Agreement, with every line becoming more hammy and on-the-nose than the last. Then, however, the film undergoes one of the most radical acts of change that any film has gone through in the last decade. What emerges from this act of diastrophism is something far more complex and intelligent than what was originally presented, showing a self-awareness that might just lead to one of Iñárritu's best overall works. It also, tragically, makes it one of the most difficult films to talk about while avoiding giving away spoilers.
Digger is not a film for those who want to watch a film without having to engage or be challenged — when it comes to its message on climate change and the modern age of consumerism, the film is unafraid to point the finger back at the audience, calling them out on their own complicity with the same horrors they are quick to outwardly reject. Specifically, in a jaw-dropping monologue from Cruise, the film quite literally begins to yell at the hypocrisy of modern convenience. In order for life to exist in the way that people enjoy, there must be a darker underbelly — the film is poignant as it digs into the concept, never being subtle but also feeling necessary in its directness. Digger does not want this conversation to be open to interpretation where the audience can easily deflect; it wants to challenge the viewer. Many audience members will still reject this message because of the uncomfortable nature of the thought, especially as the film directly presents a world that is falling apart due to the consequences of those actions. However, the film never feels unfair when it points the blame, always keeping in mind the specific individual failures of those with power, such as Digger, with Riz Ahmed giving a scathing monologue of venom that cuts into its subject right to the bone.
However, it is important to note that this is only part of what Digger is attempting to portray. It is equally interested in the concept of reaction. Obviously, the film follows how Digger and President Compson immediately react to the disaster they are responsible for, but the film also looks at the reaction to tragedy through art. The film produces satire, but it also takes a step back to question the role of satire and the concept of portraying evil through comedy. While the film remains open-ended in this conversation, allowing the audience to form their own opinion, it presents both sides with fire. Particularly in a screaming match between Cruise and an artist named Hannah (Sophie Wilde), the film gives voice to two different ways of digesting tragedy, questioning its own identity and the way it has chosen to showcase men like Digger and President Compson. This is where Iñárritu and his co-writing team of Alexander Dinelaris, Nicolás Giacobone, and Sabina Berman find their most thoughtful angle. Digger quickly transforms into a film that questions recent works of satire like Adam McKay's Don't Look Up and Bong Joon Ho's Mickey 17, asking what is actually funny in the material that is supposed to be making a statement on the modern destruction of humanity.
Because of this, the film's comedy is a difficult one to judge. Just like with Don't Look Up and Mickey 17, Digger is sure to be a polarizing film in its absurd comedic swings, with Goodman especially going as far as he possibly can with the parody. However, for those who find this style of comedy to be appalling and annoying, the film's self-awareness might just be enough to still make the experience worth it. The film itself is aware of the flaws of the experience it is offering, and pulls back to speak on that. At its heart, Digger is not a satire — these scenes are transformed as the film runs. It is impossible to get more in-depth with this side of the film without giving away spoilers that the film has asked to remain hidden from reviews, so to understand more of this angle, one will have to see the film for themselves. Just be aware that at its core, Digger is something completely different than the mentioned examples, and one should not avoid the film out of fear that the experience is comparable.
One of the ways that the film differentiates itself from these examples beyond writing is in the filmmaking. For fans of the director, it should come as no shock that Digger is one of the most beautiful productions of the year. While the grand sets and production design from Dennis Gassner and Richard L. Johnson are perfectly shot by Emmanuel Lubezki, who frames every room to be looming and massive, it is the combination of the film's sound design and unique score from Cosmo Sheldrake that leaves the strongest impression. The film is always bubbling, sounding like air being released underwater and floating towards the surface, which is also the visual the film opens with. There is something distinctly off-kilter in Sheldrake's score, capturing the playful nature of the dystopian genre while never taking away from the bleak foundation of what the film is discussing. In front of the camera, the cast all play their roles perfectly, with Cruise and Ahmed standing tall as the clear two highlights, largely due to the strength of the material given to both. While Digger is a chaotic force of attitude and energy, Cruise finds the small moments between the yelling to really shine with a reflective sadness, questioning his existence and role in the situation as it unfolds.
If anyone is making a bet on what is going to be the most divisive film of the year, Digger feels like a safe choice to put your chips on. The film is quite challenging and offers massive swings that are sure to lose many. However, for those who are willing to ride the wave and engage with the film as it unravels itself, something quite marvelous is found. The film is a layered look not just at the destruction of the modern world, but also at how humans have processed this. While Digger is extremely absurd in delivery, much of what it actually says digs deep, striking at a core of pure truth.