Cameron Winter at Carnegie Hall

On December 11, 2025, Carnegie Hall was packed for a solo concert by Cameron Winter, one of the most elusive voices of his generation. Cameras moved among the audience. Paul Thomas Anderson was there too, in the midst of his Oscar campaign for One Battle After Another. Months later, we get a concert film by two singular voices: Cameron Winter in front of the camera, Paul Thomas Anderson behind it.

Over the past two years, Winter has been impossible to ignore. As the frontman of Geese, with Getting Killed one of the most talked-about guitar records of recent years, and as a solo artist with the enigmatic Heavy Metal, he has emerged as a musician who defies every category. The fact that he has earned the admiration of songwriters such as Jeff Tweedy and Nick Cave – who has publicly sung Winter’s praises – perhaps says it all.

Few have done what Winter did that night: give a solo concert at Carnegie Hall. Bob Dylan was one of them. Bent over his Steinway, Winter fills the hall with a voice that is almost impossible to capture on record. But just when he reaches the sublime, he seems determined to undercut it himself: with a muttered word, an awkward line, an unexpected turn. His beauty never comes without a wink.

Anderson shoots on 16mm and 35mm, with Benny Safdie (The Smashing Machine, FFG2025) behind the camera, and captures that contradiction perfectly. He doesn’t turn Winter into an untouchable rock star, but allows him to be strange, funny and vulnerable. During the breathtaking $0, time seems to stand still for a moment inside Carnegie Hall. In his version of The Rolling Stones, he teases the audience with playful piano noodling. The tension built up throughout Drinking Age is released with his thunderous “From now on this is who I'm gonna be”. And in Love Takes Miles, we hear one of those beautiful, offhand lines Winter is so good at: “Love will make you fit it all in the car.”

Cameron Winter at Carnegie Hall is a concert film to treasure. Anderson captures the energy of Winter’s songs while bringing his strange, almost cabaret-like presence vividly to the screen. He is virtuosic, awkward and at times deeply moving – often within the same song. The result is a rare document of a once-in-a-lifetime performer.

For one night, Cameron Winter took over Carnegie Hall. Alone at a Steinway, the Geese frontman and solo artist turned the legendary concert hall into an intimate stage, revealing the full range of a performer who is by turns commanding, vulnerable, strange and unexpectedly funny. His soaring voice, with its remarkable control and raw physicality, seems made for a space of this scale.

In the audience that night was Paul Thomas Anderson. Shooting on 16mm and 35mm, he captures both the cavernous grandeur of Carnegie Hall and the intimate details of Winter’s performance, finding the tension between bravado and sensitivity, the sublime and the absurd. From the breathtaking $0 to playful piano improvisations and moments of disarming vulnerability, Cameron Winter at Carnegie Hall is an exhilarating portrait of a singular performer at a defining moment.