Anderson

In a widely anticipated outcome that felt like a long-overdue coronation, Paul Thomas Anderson won the top honor at Saturday’s Directors Guild of America Awards for his Thomas Pynchon-inspired political thriller “One Battle After Another.” The ceremony was held at the Beverly Hilton Hotel in Beverly Hills.

It was the director’s first DGA win after two prior nominations, in 2008 for “There Will Be Blood” and in 2022 for his San Fernando Valley reminiscence “Licorice Pizza.”

Speaking at the podium after receiving the award from last year’s winner, “Anora” director Sean Baker, a humbled Anderson thanked the guild, mentioning recent EGOT winner Steven Spielberg, sitting in the audience right in front of him. “It reminds me, being in this room, of ‘Close Encounters,’ ” Anderson said. “We’re all brought here for a reason — some cosmic thing brought us to this room. It was that call to the mountain. It’s that feeling that we all love making s— and we need to do it.”

Anderson also devoted much of his speech to remembering his first-assistant director Adam Somner, who died from thyroid cancer in November 2024. “May you be blessed with the relationship I had with him,” the director said, “and if you have one already, hold them close and remind them that you love them.”

True to tradition, the evening was both a celebration of achievements in directing and an occasion for much pro-guild testifying — from nominees, winners and Christopher Nolan, presiding over his first ceremony as DGA president. “We are the best at what we do,” Nolan said, touching on last year’s 40% dip in DGA member employment with a note of solidarity and urgency. “We are the storytellers. We are the people who have to innovate.”

All five nominees for theatrical feature film are invited to give a speech during these annual awards, with the eventual winner speaking twice. Guillermo del Toro, up for his personal take on “Frankenstein,” saluted Nolan: “I love saying ‘President Nolan’ because it’s so good to say ‘President’ with a good word after it,” he cracked to hearty applause. (The joke was echoed by several podium speakers.)

Ryan Coogler, a DGA nominee for “Sinners,” thanked the guild for his health insurance and mentioned his longtime dream — not of filmmaking but of joining a union, like some of the adults in his life growing up.

“Lately I’ve been learning about alchemy, “ said Chloé Zhao, representing “Hamnet,” her domestic drama about the grief-stricken family life of William Shakespeare. “You need fire and you need a chalice. To me, that fire is my creativity. It’s my birthright to create. And that chalice is the community that holds me.”

Indicating the respect the DGA commands among actors, several A-listers attended the ceremony to introduce their directors: Leonardo DiCaprio for Anderson, Jacob Elordi for Del Toro and Timothée Chalamet, the latter celebrating his “Marty Supreme” director Josh Safdie with sincerity and gentle deprecation. “I don’t think Josh will ever be ‘institutional,’ ” Chalamet said. “I think Josh will forever be an insurgent filmmaker and I don’t think the world would be right otherwise.”

An Oscar victory path is now clear for Anderson, previously nominated for the academy’s directing honor three times, for “There Will Be Blood,” “Phantom Thread” and “Licorice Pizza,” but never a winner. Twenty of the last 23 recipients of the DGA’s top prize have gone on to take the Oscar for directing.

Here is a complete list of the night’s nominees, with winners in bold:

Outstanding directorial achievement in theatrical feature film

Paul Thomas Anderson, “One Battle After Another” (Warner Bros. Pictures)
Ryan Coogler, “Sinners” (Warner Bros. Pictures)
Guillermo del Toro, “Frankenstein” (Netflix)
Josh Safdie, “Marty Supreme” (A24)
Chloé Zhao, “Hamnet” (Focus Features)

Michael Apted Award for outstanding directorial achievement in first-time theatrical feature film

Charlie Polinger, “The Plague” (Independent Film Co.)
Hasan Hadi, “The President’s Cake” (Sony Pictures Classics)
Harry Lighton, “Pillion” (A24)
Alex Russell, “Lurker” (Mubi)
Eva Victor, “Sorry, Baby” (A24)

Outstanding directorial achievement in documentary

Mstyslav Chernov, “2000 Meters to Andriivka” (PBS)
Geeta Gandbhir, “The Perfect Neighbor” (Netflix)
Sara Khaki and Mohammadreza Eyni, “Cutting Through Rocks” (Assembly Releasing)
Elizabeth Lo, “Mistress Dispeller” (Oscilloscope Laboratories)
Laura Poitras and Mark Obenhaus, “Cover-Up” (Netflix)

Outstanding directorial achievement in dramatic series

Amanda Marsalis, “The Pitt,” “6:00 P.M.” (HBO Max)
Liza Johnson, “The Diplomat,” “Amagansett” (Netflix)
Janus Metz, “Andor,” “Who Are You?” (Disney+)
Ben Stiller, “Severance,” “Cold Harbor” (Apple TV+)
John Wells, “The Pitt,” “7:00 A.M.” (HBO Max)

Outstanding directorial achievement in comedy series

Seth Rogen and Evan Goldberg, “The Studio,” “The Oner” (Apple TV+)
Lucia Aniello, “Hacks,” “A Slippery Slope” (HBO Max)
Janicza Bravo, “The Bear,” “Worms” (FX on Hulu)
Christopher Storer, “The Bear,” “Bears” (FX on Hulu)
Mike White, “The White Lotus,” “Denials” (HBO Max)

Outstanding directorial achievement in limited and anthology series

Shannon Murphy, “Dying for Sex,” “It’s Not That Serious” (FX on Hulu)
Jason Bateman, “Black Rabbit,” “The Black Rabbits” (Netflix)
Antonio Campos, “The Beast in Me,” “Sick Puppy” (Netflix)
Lesli Linka Glatter, “Zero Day,” “Episode 6” (Netflix)
Ally Pankiw, “Black Mirror,” “Common People” (Netflix)

Outstanding directorial achievement in movies for television

Stephen Chbosky, “Nonnas” (Netflix)
Jesse Armstrong, “Mountainhead” (HBO Max)
Scott Derrickson, “The Gorge” (Apple TV+)
Michael Morris, “Bridget Jones: Mad About the Boy” (Peacock)
Kyle Newacheck, “Happy Gilmore 2” (Netflix)

Outstanding directorial achievement in variety

Liz Patrick, “SNL50: The Anniversary Special” (NBC)
Yvonne De Mare, “The Late Show With Stephen Colbert,” “Julia Roberts; Sam Smith” (CBS)
Andy Fisher, “Jimmy Kimmel Live!,” “Stephen Colbert; Kumail Nanjiani; Reneé Rapp” (ABC)
Beth McCarthy-Miller, “SNL50: The Homecoming Concert” (Peacock)
Paul Pennolino, “Last Week Tonight With John Oliver,” “Public Media” (HBO Max)

Outstanding directorial achievement in sports

Matthew Gangl, 2025 World Series – Game 7 – Los Angeles Dodgers vs. Toronto Blue Jays (Fox Sports)
Steve Milton, 2025 Masters Tournament – Augusta National Golf Club (CBS Sports)
Rich Russo, Super Bowl LIX – Philadelphia Eagles vs. Kansas City Chiefs (Fox Sports)

Outstanding directorial achievement in reality / quiz & game

Mike Sweeney, “Conan O’Brien Must Go,” “Austria” (HBO Max)
Lucinda M. Margolis, “Jeopardy!,” “Ep. 9341” (Syndicated)
Adam Sandler, “The Price Is Right,” “10,000th Episode” (CBS)

Outstanding directorial achievement in documentary series / news

Rebecca Miller, “Mr. Scorsese,” “All This Filming Isn’t Healthy” (Apple TV+)
Marshall Curry, “SNL50: Beyond Saturday Night,” “Written By: A Week Inside the SNL Writers Room” (Peacock)
Susan Lacy and Jessica Levin, “Billy Joel: And So It Goes,” “Part Two” (HBO Max)
Alexandra Stapleton, “Sean Combs: The Reckoning,” “Official Girl” (Netflix)
Matt Wolf, “Pee-Wee as Himself,” “Part 1” (HBO Max)

Outstanding directorial achievement in commercials

Kim Gehrig (Somesuch), “You Can’t Win. So Win.” – Nike | Wieden+Kennedy
Miles Jay (Smuggler)
Spike Jonze (MJZ)
Andreas Nilsson (Biscuit Filmworks)
Steve Rogers (Biscuit Filmworks)

On the approach to Arosa in the Graubünden Alps, the road is lined with mountain chapels, their stark spires soaring heavenwards; a portent, perhaps, of the ominous route ahead. The sheer-sided valley is skirted with rugged farmhouses and the road twists, over ravines and round hairpin curves, to a holiday destination that feels like a well-kept secret.

On the village’s frozen lake, young families ice skate, hand in hand. A little farther along, on the snow-covered main street, children sled rapidly downhill, overtaking cars. The resort’s mascots are a happy gang of brown bears. And there are Narnia lamp-posts, which turn the falling snow almost gold every evening. Switzerland is replete with ski towns but none feel quite this innocent and childlike, like stepping into a fairytale.

I am here for a week in an apartment with my wife and two kids, as it’s a place my Swiss partner’s parents and grandparents have been returning to for more than a century. What first drew them here? All say the same thing: Arosa is the Swiss mountain village most Swiss don’t even think to visit; a low-key alternative to the box office of St Moritz, Verbier and Zermatt.

The village sits on a high, terraced plateau one hour south of Chur, Switzerland’s oldest city, and is surrounded by dense fir forests, above which rises an amphitheatre of saw-cut summits. The sense is that the out-of-sight village has been secretly occupied – the pretty-as-pie peaks standing sentry – as if the first farmers here back in the 14th century feared the Habsburgs might return at any moment to take back their territories.

This is also storybook Switzerland to a T. To the north is Heidiland, the farm holiday region where Johanna Spyri set her children’s novels. Also one hour away is Liechtenstein, the pipsqueak principality, which brings to my mind the land of Vulgaria in Chitty Chitty Bang Bang. Two hours to the north is Zurich where we arrived, before borrowing my in-laws’ car. If you fancy taking the train, there are options to do the trip from the UK to Zurich in as little as seven hours, with a change in Paris. Arosa can then be reached on the memorably scenic Rhaetian Railway, a journey with some of the Alps’ most glorious in-seat entertainment. Outside, all the drama is provided by a script of high-definition gorges and glaciers.

The Arosa Bear Sanctuary, at the middle station of the Weisshorn cable car, is a good place to start exploring. Even during the residents’ winter deep sleep, the 2.8 hectare den offers a walk-through education in animal welfare in an unlikely setting, and its wooden platforms offer memorable views of the snow-fuzzed summits and pistes that lead off in every direction like a spreadeagled skier.

The refuge is run in cooperation with global animal charity Four Paws and it provides four rescued European brown bears a species-appropriate home. Once held in appalling conditions, including a private mini zoo in Albania, the bears’ compound is now a place to readjust, to feel safe again. For the full Yogi and Boo-Boo experience, I’d suggest visiting in summer.

It’s fair to say my six-year-old daughter fizzes with enthusiasm when the bears are mentioned, but also when we snowshoe later that week into pine forest along the resort’s themed Squirrel Trail. The trail is printed with fresh squirrel tracks and we add our own, feather-pressing our boots into the crisp snow. The flakes fall heavily, as if we’re inside an ornamental snow globe. Then, two red squirrels scurry past with dark-furred yet sparkling tails.

Most days we ski until lunch. All children enjoy one free half-day group lesson for each night’s stay in Arosa with ABC Snowsports School or the Swiss Ski and Snowboard School, but we prefer to explore the mountains as a family. Since 2014, the resort has been connected across the gaping Urden valley with the larger town of Lenzerheide, and like other popular Alpine ski areas, the combined piste map is now a profusion of primary colour squiggles.

But there the similarity ends. British accents are absent. The pistes are largely empty. Strict building regulations, upholding traditional timber aesthetics, mean the village is largely the same now as it was when my relatives first visited. It is Switzerland, but from a half-century ago. At the barn-like Tschuggenstübli, once a cheese dairy on the slopes, everyone crams on to tables to order bündnerfleisch (air-dried beef) and käseschnitte, an upgraded welsh rarebit with melted raclette cheese, pickles and onions.

Afterwards, it’s toboggan time. It strikes me there are almost as many traditional wooden sledges for hire in Arosa as there are pairs of skis, and, from the top of the Kulm Gondola, the only way is down. And at speed. My kids are barely ruffled by the tight, bobsleigh chicanes and, one afternoon, we all howl with laughter as my eight-year-old son hurtles off the track into a marshmallowy drift. He pops back up, grinning, but polar bear white. We repeat the sledge run another half-dozen times.

Another reason for visiting this winter is to stay at the Grand Arosa Pop-Up Hotel, a one-year experiment inside a vacant resort hotel which is open to the end of this season – the concept will continue next year, though details are yet to be confirmed (they also operate another pop-up hotel in Fribourg and a pop-up hostel in Zurich). Clues as to its aesthetic are in the name – this is not a ski hotel in the traditional sense, and certainly not a vintage chalet brimming with geranium window boxes and mounted antlers. More than that, it is probably the Alps’ largest ever pop-up hotel and its interiors are bathed in pastel pink. If you can find me cooler ski accommodation this year, I’m happy to wait.

With a tech-first approach, there is no reception, but self-check in instructions imposed on a poster of a purple bellboy. What might have once been a telephone operator’s room is reimagined as a walk-in guest book, its fan-print wallpaper covered with whimsical, hand-written comments. Velvet curtains drape two symmetrical elevators, then a cloaked red corridor suggests you are somehow walking backstage at a theatre, before revealing a piano observatory and a vintage design cinema. A Wes Anderson film set has been conjured before you. We only drop in for coffee, but I wish we’d stayed.

At the end of our week, my wife mentions to me how sad she is to be leaving. The kids aren’t too happy about it either. Neither am I. It crosses my mind that Arosa, with its sleepy bears, squirrels and surreal pop-up hotel, isn’t what most people come to Switzerland for. Rather, it’s what we’ve been looking for all along.

The trip was supported by Arosa-Lenzerheide. Singles/doubles at the Grand Arosa Pop-Up Hotel, from €117 room-only. For more information, visit myswitzerland.com