Civil War is set to be one of the most contentious films of the year. Alex Garland’s latest film delves deeply into a harrowing and eerily realistic modern conflict, encapsulating current political tensions and bringing the familiar imagery of warfare into the untouched cities of the US.
We’ve witnessed New York being ravaged by zombies, natural disasters, aliens, ghosts, and even Marvel superheroes, but this film presents a different kind of devastation. It’s not an alienating fantasy, but rather a chilling glimpse into a conceivable future.
Known for his philosophically rich sci-fi stories like Ex Machina and Annihilation, the British writer and director delivers his most grounded film yet, while staying true to his subtle warnings to humanity.
In Civil War, the warnings aren’t subtle at all—every message is as clear as the bombs falling from the sky.
The movie shifts focus away from the specifics of the conflict, centering instead on a group of journalists reporting from the front lines of the war engulfing the US.
Seasoned photographer Lee (played excellently by Kirsten Dunst), fiery reporter Joel (Narcos’ Wagner Moura), veteran political journalist Sammy (Dune’s Stephen McKinley Henderson), and newcomer Jessie (Priscilla’s Cailee Spaeny) are some of the professionals documenting the ongoing conflict in New York City.
Lee’s weariness from years of witnessing death overseas is palpable, while Jessie, her self-proclaimed biggest fan, is eager to face danger. Sammy is savoring his last hurrah before retirement, and Joel is determined to get the exclusive story at any cost.
Representing different generations of journalists, their interactions form the emotional core of a film that sometimes feels detached from its most gruesome images. They aren’t portrayed as flawless heroes; instead, the movie offers a complex reflection on the ethical challenges of war reporting.
When the journalists’ sources reveal that the President (played by Nick Offerman) is about to be cornered and executed in the White House, they join forces and travel to Washington, DC, to secure one last interview.
Civil War leaves many questions unanswered, as viewers will quickly realize.
We learn that Texas and California have joined forces to create a so-called Western Front, and that the President is in an unusual third term, hinting he might be unlawfully clinging to power. Ultimately, understanding the specifics of the conflict isn’t crucial to the film’s purpose.
In a revealing scene, the journalists find themselves in the midst of a shootout in an abandoned theme park. Two snipers aim at a shooter, who is targeting them from a country house window. They don’t know how the skirmish started, who they are shooting at, or which side they are on.
The entire conflict in the movie feels this way—people have simply turned against each other, shooting first and asking questions later, consumed by a blurry chaos.
While the details of the war seem distant, Garland’s imagery feels incredibly real.
We’ve seen this post-apocalyptic visual style before, from Alfonso Cuarón’s Children of Men to the French limited series The Collapse (L’ Effondrement) and even zombie films like Garland’s own 28 Days Later. Even the helicopter shots evoke Apocalypse Now. However, the film remains true to real-life images rather than aiming for grandiose spectacle.
Iconic landmarks are marred by violence, football stadiums become refuges for the displaced, currency loses its value, and essential resources are scarce. The chaos North Americans typically see on their TV screens through reports of foreign conflicts now floods their own streets.
Some viewers might recall the Capitol attack on January 6, 2021, particularly during the film’s intense conclusion, but it would be simplistic to reduce the movie to a response to that event.
True to his style, Garland distills everything to its essence, avoiding an overly complex narrative, delivering memorable visuals, and exploring significant themes.
Journalism in the Midst of Chaos: Alex Garland’s Civil War Delivers a Powerful Warning
Civil War is not only about the devastating consequences of political tensions and gun politics or the violent potential of armed conflict, but also about how these stories become history; how the present is reported, recorded, and later remembered; how journalists’ roles in this process are fraught with ethical dilemmas, yet remain entirely essential.
Other aspects of the film will captivate viewers, but Garland’s poignant portrayal of journalism is likely the hidden gem amidst the brutality of the setting.
In one scene, Dunst’s Lee laments that her work as a war photographer has been a warning that went unheeded. “And here we are,” she says. Alex Garland seems to share that sentiment, as Civil War emerges as his most explicit and urgent warning to date.