As some of you may have noticed, we’re already living in pretty damn polarised times. But how much worse could it get? Alex Garland’s explosive latest work of cinema gives us an unsettling look into a near future, where political differences have erupted into widespread violence and anarchy, fracturing the union of the United States.
The trailer certainly made an impact when it debuted early this year. But that trailer doesn’t really represent the actual film quite as much as you’d think. It makes it look too much like a blockbuster, when actually it’s a much more grounded and thoughtful movie. There’s certainly some incredible spectacle in places, but this is a film very much about texture and tone. And less preoccupied about telling a “story” in the traditional sense. That doesn’t mean the writing and characterisation isn’t great – it is! – but it’s not a Hollywood thriller. More a brooding mediation on human nature once the veneer of civilised society starts to erode away.
The specifics of the conflict – how it started, the forces involved – are kept mostly ambiguous. That might frustrate some, but there’s breadcrumbs enough for smart people to draw their own conclusions. This was, I suspect, a deliberate choice. After all, this is a film about the consequences of the polarisation of politics. It would be dangerous in the extreme if it – by promoting an explicit political agenda towards one side or the other – ended up fuelling that same polarisation. This is reflected in the themes it explores about Journalistic neutrality and the importance – and responsibility – of a free press. The use of flash still-frames of photography interspersed throughout, is a sombre reminder that after all these events are over, history will be remembered though the images and media captured at the time.
I said earlier that it’s not quite the action blockbuster film suggested in the trailer. But that being said, when those moments hit, they hit HARD. This might be the first A24 film that’s had a significant IMAX promotion (and with a $50 Million budget – one of their biggest). I don’t know if IMAX is essential for it, but I do think it absolutely has to be seen in a decent cinema with good sound. Honestly, I’ve not seen a film with battle scenes that felt quite so exhilarating and terrifying since 2006’s CHILDREN OF MEN. There’s a gritty rawness and intensity to them that manages to create giddy conflicting feelings of horror and excitement in your guts. War is hell, but Civil War – killing your own – is so much worse. The final battle in Washington DC and the White House is – even as a non-American – hard to stomach, as bullets tear up the Lincoln Memorial and bodies pile up all around.
There’s so much more I could talk about. The bold and memorable use of music, bringing to mind Apocalypse Now, with its use of some amazing songs and tracks by artists from the 60s to the present, juxtaposed with a moody ambient score by longtime collaborators Ben Salisbury and Geoff Barrow. An outstanding cast, led by Kirsten Dunst and Wagner Moura – along with a brief but absolutely scene-stealing performance by Jesse Plemons. The gorgeous cinematography and striking imagery. But I think you get the idea.
Alex Garland has stated that this will likely be his last film (at least, as Director), which – if true – makes me genuinely sad we may not see more work from this extraordinarily gifted writer/director. I know how soul-crushingly hard it is making movies, but selfishly, I want more from the man who gave us EX MACHINA, DEVS, and ANNIHILATION. But if CIVIL WAR is indeed his final film, then at least he’s bowing out on high note. It’s a fantastic film. Let’s just hope that with a fractious US election later this year, that it’s not too prophetic though!
