Junun Jun 2026

At its core, junun is the Arabic word for or insanity . Etymologically, it is linked to the word jinn , suggesting a state where the rational mind is obscured by hidden forces or spirits.

PTT Anderson shoots this entirely on digital (largely with a drone and handheld cameras), bathing everything in the golden, dusty light of Mehrangarh Fort in Jodhpur. The sound design is phenomenal—you don't just hear the music, you feel the droning harmonium, the crack of the dhol , and the flutter of Jonny Greenwood’s Radiohead-esque electronics colliding with traditional Rajasthani folk.

At 54 minutes, Junun is ruthlessly efficient. There are no interviews, no "making of" backstory, no talking heads. Anderson trusts you to just watch and listen. The only narrative is the arc of a song being born, falling apart, and coming back together. At its core, junun is the Arabic word for or insanity

The premise is simple: Anderson travels to Rajasthan, India, to record an album with his frequent collaborator, the Radiohead guitarist Jonny Greenwood. They set up shop inside the 15th-century Mehrangarh Fort in Jodhpur, joining forces with the Rajasthan Folkstars—a collective of local musicians whose musical lineage stretches back generations—and the Israeli composer Shye Ben Tzur.

Led by Greenwood, Israeli composer Shye Ben Tzur, and a collective of local Muslim and Hindu musicians, the score is ecstatic. It’s not a polished studio album; it’s a living, breathing jam session. Tracks build from simple clapping into chaotic, beautiful storms of brass, strings, and chanting. Even if you don't like "world music," the raw energy is infectious. The sound design is phenomenal—you don't just hear

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: Adopt Shye Ben Tzur’s approach of setting boundaries based on "what not to do". For example, avoid standard pop structures (verse-chorus) in favor of long, hypnotic, unbroken takes that allow the music to "breathe". Anderson trusts you to just watch and listen

Paul Thomas Anderson’s Junun (2015) is a cinematic departure in the truest sense. Best known for the sprawling epics There Will Be Blood and Magnolia , or the neon-soaked noir of Inherent Vice , Anderson strips away the heavy machinery of plot, dialogue, and dramatic tension in this 54-minute documentary. What remains is a pure, unadulterated celebration of the creative act—a film that feels less like a movie and more like a meditative trance.