As a director and writer, Paul Thomas Anderson is undeniably hard to define. The scope of his filmography defies the bounds of genre, tone and convention to make a uniquely diverse repertoire of work. His only other collaboration with Daniel Day-Lewis, There Will Be Blood, resulted in a richly gothic and absorbing study of a man and his relentless pursuit of wealth during the oil boom of the early 20th Century in Southern California. In Phantom Thread, Day-Lewis takes on another compellingly ruinous character, demonstrating once again his mastery of portraying the most complex and inscrutable of men.
Set against the backdrop of 1950s London, the majority of the film unfolds within the walls of a lavish Georgian townhouse in Fitzrovia. It acts as the home and workplace of distinguished dress-maker Reynolds Woodcock (Daniel Day-Lewis) and his sister, both at the centre of the British fashion industry. Women are shown to be fleeting in Reynolds’ life, providing only fleeting companionship. This promptly changes when he meets the willful and headstrong Alma (Vicky Krieps), who becomes his muse and lover. Once meticulously ordered and planned, Reynolds finds his life to be irrevocably changed by her influence. (source)