A pristine introduction to Paul Thomas Anderson’s cinematography, “Punch-Drunk Love” is a delight in constructive creativity. Barry Egan, the titular character, is awkward, shy and nervous around women, and Adam Sandler does an excellent job in his interpretation of the role. His surprisingly deep role shows audiences that he (Sandler) can actually act in movies not directly related to the goofy comedies with which he is usually associated. In a quiet but nonetheless direct use of colors, viewers can see how the director emphasizes the main protagonists’ solitude (blue) against his deepest desire (red), and how his salvation lies in his riddance of the past, which he is ashamed of. His sisters emotionally bully him and always make derogatory remarks about his work, whilst poking fun at his introverted attitude. The director also utilizes music to transmit urgency related to the stressful mindset in which the main protagonist is placed into, and uses symmetrical shots to further let everyone understand how Barry Egan sees the world around him. The ending, though, isn’t quite on par with the whole movie, as it dissipates into somewhat of a cliché, but still keeps every previously mentioned element intact so that audiences are left to admire Anderson’s work.