19.4.24
As a cinema-going experience and comment on journalistic ethics in a globalised world, Civil War works well and hits hard. The issue is that despite some great acting, the characters are very thinly written, and their fate can be telegraphed right from the start of the film.
Alex Garland, known for his growing body of cerebral films, deliberately keeps Civil War opaque in its creation of conflicting groups. For example, how the hell would the so-called Western Forces of California and Texas (as President Nick Offerman calls them) ever conceivably rustle up enough power amongst themselves to overrun the USA, with their huge gulf in cultural and political stances? There are many questions in Civil War, and only some of them get answered. Too much is left unsaid about what happened in this near-future USA, which may frustrate viewers, but does feel like a deliberate choice by Garland.
The film delves into the ethics and risks of neo-liberalism, exploring what too much freedom might look like. It reminded me of Florida citizens during COVID-19 who would rather die than wear a mask, such an impingement on their freedom, despite the potential mass benefits to others. With Trump’s Capitol insurrection still fresh in our minds and the possibility of his re-election, Civil War has staying power, at least for now.
I liked Caileen Spaeny’s performance, much better than in Priscilla, and the showstopping, frankly terrifying portrayal by Jesse Plemons. The peppering of war photography in real-time is effective and reminds one of the current conflict in Gaza and the brave journalists putting their lives on the line to show the true costs of war. The intensity is gripping, and despite my predictions coming true about the predicaments of the female characters, it still traverses to some really interesting and shocking places.
Civil War doesn’t take a clear stance politically, much to its credit, but it holds a mirror up to the global risk society that we are all a part of. Much like the fearless war correspondents it depicts, it’s a timely story that presents a haunting reflection of our troubled times without easy answers. Not Garland’s best work, but the type of film that just keeps you guessing what sort of brainfuck he will rustle up next time.