Spoiler Alert: This article decodes plot and symbolism from Leonardo DiCaprio’s new film One Battle After Another.
At first glance, One Battle After Another is a sarcastic, adrenaline-driven action comedy about radical activists clashing with a heavy-handed government. Leonardo DiCaprio delivers the perfect mix of charm and satire, keeping mainstream audiences laughing at the absurdity of nonstop political chaos. But underneath the parody lies a coded script. The film shows how the real world operates through hidden orders, opposing factions, and rituals of control — an esoteric map of how secret societies keep humanity divided while serving the same archetypal masters.
Two fictional factions dominate the story: the French 75 and the Christmas Adventurers. On the surface, they’re enemies. But for those with an eye for esoteric language, they are masks of deeper currents: Venus/Lucifer on one side, Saturn/Kronos on the other. Both sides dramatize the same principle: divide and conquer, staged endlessly as “one battle after another.”
The French 75: Feminist Luciferian Rebels
The French 75 are portrayed as militant feminists, armed with ritual passwords, theatrical gestures, and fiery rhetoric. Their aesthetic is bright, glamorous, and chaotic — equal parts revolution and carnival. This is not just parody of activism. It is an archetype: Lucifer/Venus, the principle of illumination and rebellion. They seek to tear down old hierarchies, but their light is double-edged. As the “light-bringer,” Lucifer symbolizes desire, beauty, and freedom — but also vanity, pride, and seduction. Their rituals of empowerment echo this duality: promising liberation, while binding participants to a different kind of worship.
Through the French 75, the film mirrors the Left-hand current in modern politics and culture: a devotion to Venusian rebellion, cloaked as social progress. Yet, as the story unfolds, their rebellion is shown to be ritualized — another theater of control, dressed in the language of liberation.
The Christmas Adventurers: Saturnine Disciples of Order
In stark contrast, the Christmas Adventurers wear dark uniforms, march in formation, and pledge allegiance to “Saint Nick.” To casual viewers this is comedic parody — a militarized holiday club. But esoterically, it points to Saturn/Kronos, the Old King, Judge, and Devourer of Time. Their salute to Saint Nick is not about Santa Claus, but about Saturn cloaked in holiday nostalgia. In occult tradition, Christmas overlays the Roman Saturnalia: a festival of inversion, sacrifice, and the reassertion of Saturn’s authority. Saint Nick becomes Saturn disguised — the one who keeps lists, rewards obedience, and punishes the disobedient.
These Adventurers embody the Right-hand current: strict order, discipline, destruction as purification. Their rituals enforce hierarchy and sacrifice, reminding us that order too has its price. Behind their cheer is Kronos, the devourer of children, demanding continual proof of loyalty.
Perfidia & Lockjaw: The Union of Opposites
The film’s most esoteric moment comes in the union of the two leaders: Perfidia of the French 75 (Lucifer/Venus) and Lockjaw of the Adventurers (Saturn/Kronos). Their unlikely merging produces a child — Willa. This is not just plot; it is alchemy. The conception of Willa symbolizes the casting of the molten sea, a biblical metaphor for blending opposites into a new vessel.
Soon after, Lockjaw is killed, leaving Perfidia alive “behind the veil.” The feminine Luciferian current survives, hidden and enduring, while the Saturnine father is sacrificed. Willa becomes the living synthesis of both currents, embodying the potential for a new aeon — either as liberation or as the ultimate pawn in a system that thrives on synthesis.
Max Heindel’s Lens: Freemasonry & Catholicism
This structure directly echoes the insights of Max Heindel in Freemasonry & Catholicism. Heindel showed how human evolution is shaped by two streams: the exoteric (Church) under Saturn and the esoteric (Lodge) under Lucifer. Both seem opposed, but both serve the same cosmic plan, pulling humanity between poles. The French 75 and the Christmas Adventurers embody these dual currents. Their staged conflict is ritual, not reality. Their leaders’ union reveals the hidden truth: the system creates synthesis to renew itself.
Christmas, Saturn, and the Old King
The film’s Christmas motif is no accident. Christmas has always hidden Saturnalia beneath Christian narrative. Kronos, the old king, was celebrated in Rome with feasting, inversion, and sacrifice before order was reset. Saint Nicholas as judge of good and bad children is the modern mask of Saturn: rewarding obedience, punishing defiance, demanding ritual offerings. The Adventurers’ devotion to him unmasks Christmas as Saturn’s feast. It is Kronos, not Christ, who rules the ritual.
By embedding this truth in satire, the film reveals how culture smuggles ancient archetypes into modern life. We celebrate, laugh, and consume, but unconsciously participate in Saturn’s recurring ritual — year after year, battle after battle.
Why This Matters: Beyond Comedy
To most, One Battle After Another is entertainment. To the awake, it is revelation. The endless conflict between the French 75 and the Christmas Adventurers shows how humanity is kept divided, trapped in polarity. The union of Perfidia and Lockjaw, and the birth of Willa, shows how the system regenerates itself through synthesis. What looks like chaos is ritual. What looks like choice is choreography.
The message is clear: Left and Right, rebellion and order, Venus and Saturn — all are parts of the same ritual machine. The real question is not which side you’re on, but whether you will step off the stage altogether.
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