Dystopias on screens seem to impress less lately, and this is probably also due to the fact that our lives and the events around us contain more and more elements of dystopia. ‘Civil War‘, the film written and directed by Alex Garland in 2024, depicts an ultimate American dystopia: the United States is ravaged by a civil war in which California and Texas (with Florida as allies) are rebelling against federal power and are on the way to win the war. Neighbors are pitted against each other, anarchy reigns, and war crimes that Americans only read about in the press are taking place on American soil. The script tries and skillfully succeeds in not associating any of the conflicting parties with current political camps, nor does it explain how and why Texas and California became partners in the secessionist alliance. Alex Garland‘s attention was directed to another aspect – the role of the media in such conflicts and how journalists deal with the violence and war crimes they witness. The whole thing is packaged as a political action thriller (a well done one). What happens on the screen is in many moments horrible, sometimes even hard to watch. By not providing explanations, Garland leaves the audience to ask. How did they get there?
At the heart of the story are four journalists who decide to undertake what has become a journey strewn with deadly dangers from New York to Washington, DC to try to get an interview, perhaps the last interview, with the President of the United States barricaded in the White House. Lee is a famous photojournalist, whose name and biography are inspired by Lee Miller the famous 20th century American photographer and war photojournalist. Jessie is a much younger version of the same character, wanting to follow in the footsteps of Lee, who is for her idol and role model. Joel is a young, brave and experienced war reporter. Sammy, much older than the other three, is a veteran journalist who writes for ‘what’s left of the New York Times’. The road of the four is dotted with images of devastated America and unimaginable but highly suggestive war scenes as photo subjects. The final part of the film takes place in the besieged White House. An empire is about to fall.
is a bloody road movie. We witness Jessie’s coming of age, with her becoming more and more like her role model. At the same time, it is precisely the most hardened reporters who reach their psychological crisis points when faced with the deaths of their colleagues. Many films have already been made about the profession of war journalist, some very good. ‘Civil War‘ adds to this list, asking tough questions about the nature of the professions of war reporter and photographer. What is the ultimate duty of journalists in extreme conditions? To record and report what they witness? When it comes to extreme violence, atrocities, seen without reacting, don’t reporters become accomplices? Does ’embedding’ with one or other of the forces – without which access to the battlefields is in many cases impossible – mean complicity with them? Alex Garland deliberately chose, I think, the profession of photojournalist and presented his heroes using the slightly old-fashioned tools of their trade. I think he meant that the questions asked in the film do not refer to a specific period, but to all the wars covered by journalists, since the press exists.
The cinematography is fluid and spectacular, although it does not appear to have been an excessively expensive production. Action movie buffs will be pleased, I think. Kirsten Dunst (Lee) proves that she has moved into the category of solid actresses with a diverse filmography. Cailee Spaeny seemed a bit counter-cast at first (too young?) but as the film advances she goes through a maturity process that manages to convince. Wagner Moura and Stephen McKinley Henderson round out the cast of characters with satisfying supporting roles. ‘Civil War‘ is more than just another dystopia.