Bewitching

This triangular dynamic grows only more interesting as the fabrics that comprise “Phantom Thread” are sewn together.

When Cyril suggests she do his latest breakup for him — and, by the way, he agrees with little reluctance — she also nudges him to take a short but relaxing jaunt to the English countryside.

It is there, in a restaurant at breakfast time, where Reynolds meets Alma (Vicky Krieps), the waitress who serves him. Even though the first thing he sees her do is stumble, it is love — or at least attraction — at first sight for both of them. She takes his large-and-elaborate breakfast order, and he asks her to dinner, an invitation she accepts.

At dinner, with her permission, he wipes away her makeup.

“I like to see what I’m talking to,” he says.

He also admonishes her, gently, for not carrying a picture of her mother with her always. While he does not carry one of his either, he explains how he sews mementos relating to his late mother in every dress he makes.

“She was a remarkable woman,” he says. “She taught me my trade, so I try hard never to be without her.”

(This is a good time to mention that paying attention to and thinking about themes Anderson establishes early in “Phantom Thread” will pay off deep into the film.)

This really is the most fascinating of first dates. Before it is over, Alma will ask him why he has never married — “I make dresses,” he responds, as if that’s any kind of answer; Cyril will intrude, Reynolds referring to her as “You Old So and So”; and the sibling pair will take Alma’s measurements.

It is then Alma finds herself apologizing to Reynolds for not having much in the way of breasts.

“No, no, you’re perfect,” he assures her. “My job is to give you some. “If I choose to.” (Not long after, Cyril tells Alma he has the ideal shape for her brother — because “he likes a little belly.”)

This triangular dynamic grows only more interesting as the fabrics that comprise “Phantom Thread” are sewn together. Like other women before her, Alma will greatly disrupt Reynolds’ routine and ability to work, but, unlike others, she is not so easily removed from the house of Woodcock.

Day-Lewis, who also won the best-actor Academy Award for 1989’s “My Left Foot” and 2012’s “Lincoln,” is, unsurprisingly, terrific. He offers a nuanced performance, one that if it is to be his last — he has announced he would retire after the film — is a fitting swan song.

Krieps, a European actress who appeared in 2012’s “Anonymous,” just about holds her own with Day-Lewis. Her performance is more impressive as “Phantom Thread” weaves forward, her character’s motivations becoming increasingly intriguing.

And while her role is less demanding, Manville (“Maleficent”) makes Cyril a strong presence in “Phantom Thread.

This ranks right up there with “There Will Be Blood” as the best work of Anderson, whose credits also include “Boogie Nights” (1997), “Magnolia” (1999), “Punch-Drunk Love” (2002) and “The Master” (2012)” -- each a film that challenges and entertains to a different degree.

From its delicate lighting to the sophisticated garments to the hauntingly beautiful score by composer and Radiohead guitarist Jonny Greenwood — a regular collaborator with Anderson in recent years — “Phantom Thread” is a cinematic experience that asks you to drink it in, sip by complex sip.

Like any film from Anderson, it will not be to all tastes, but some who see it may wear it for a few day afterward.

FOCUS FEATURES Lesley Manville portrays Cyril in a scene from “Phantom Thread.”