Civil War (2024) is an action drama film from writer-director Alex Garland. It stars Kirsten Dunst as a photojournalist embedded in dangerous Washington, D.C. at the pinnacle of a U.S. civil war between warring factions. The film debuted at SXSW last month ahead of its theatrical release this past weekend, becoming A24’s biggest opening weekend ever. Why has this stoked such controversy across the nation?
I have been excited about this film ever since I heard it announced. In addition to Alex Garland being one of my favorite working writers and directors, it was always the kind of film that was destined to generate endless discourse on social media. A film that depicts a second American Civil War, releasing in an election year, when tensions between left and right are higher than they’ve been in decades? Yeah, no kidding this would get people talking! I went in with zero expectations, planning to judge it solely on its merits as a film rather than as a political statement (or lack thereof). So does it deliver? For the most part it does, with strong technical elements and a well-paced story that provides plenty of thrills, though it feels a bit lacking in thematic resonance and ultimately doesn’t leave us with much to take away from it.
This is not actually a film about a civil war so much as it is one about journalists and the sacrifices they make to bring home images of conflict. Our protagonist, Lee Smith, is a longtime war reporter who has spent many years on the front lines of various conflicts, documenting the bloodshed and informing the folks back home of what is happening. It is specifically mentioned that she shares a name with Lee Miller, the famous WWII photojournalist, implying that journalism is a lifelong ambition of hers and something she holds as a deep conviction within herself. For a character we don’t really get to know all that well throughout the runtime, it’s important that we know she’s a woman of dedication and willpower so we are willing to follow her to hell and back. It’s also notable that she has been doing this for a while – she is no spring chicken; she’s a true professional and veteran to these conditions, leaving us in assured hands that she knows how to do her job well.
The film immediately introduces a mentor/mentee relationship between Lee and Jessie, a young aspiring photojournalist who tags along for the ride to the capitol. This is a wise choice to contrast Lee’s cynicism and battle-hardened experience with Jessie’s intrepid spirit and wide-eyed optimism. In addition to showing Jessie the ropes and helping her to survive, she must also teach her the harsh realities of war and just how dangerous the profession can be. But as with any great teacher-student relationship, the learning experience goes both ways – Jessie serves as an important reminder for Lee as to why they are doing what they’re doing, and how lovely life can be when not spent eternally on the front lines. This would be a fascinating companion piece to last year’s Documentary Oscar winner, 20 Days in Mariupol, which also highlights the significance of those documenting the front lines of a bloody conflict.
Other narrative decisions bothered me, however. It’s never made clear which side the journalists are on, which at first I assumed wouldn’t be an issue as they are just impartial bystanders to the conflict. But as the film goes on, they take a more active role, teaming up with soldiers to document raids on buildings, laughing with them as they execute dissidents. It’s a frustrating decision to make these folks fence-riders in an era that is clearly so polarized that you quite literally have to choose a side. It dulls the impact of certain scenes, like the infamous Jesse Plemons cameo when he demands to know “what kind of Americans are you?” I was wondering the same thing, my guy!! It could have even been used as a narrative device to generate tension within the group – maybe Lee’s partner Joel supports a different side of the war than she does, yet they continue to work together, united by a common goal. Ultimately the film feels a bit toothless because it avoids making any kind of strong statement itself…in trying not to offend anyone, they wound up not pleasing anyone either.
The film would not work unless we believe we are truly in a dangerous warzone, and Garland’s direction does a good job of immersing us in the battle. This film has some of the most harrowing sound design of the year, with brutally-loud gunshots ringing in our ears and explosions rocking us to our core. Every successive set piece brings a palpable sense of danger, and we truly feel that any of the main characters could die at any moment. I also enjoyed the occasional choice to cut away from the chaos and noise to show still images taken by the journalists amidst the fighting. Not all of Garland’s creative choices worked for me, however: some of the needle drops do not fit the tone whatsoever, with upbeat hip-hop and light-hearted folk tunes overlaying scenes of death and suffering. The big dramatic moment at the ending, while heavily telegraphed, also felt cheap and cliched, dulling its impact in the moment. The film also ends rather abruptly, relying on the “iconic” nature of its final shots to leave the audience on a strong note, but it left me feeling a bit empty and wanting more.
The film also features strong performances from the main cast, grounding the story with believable characters we can root for. Kirsten Dunst gives a strong performance in the lead role – the first I’ve seen her in for quite some time – as the bitter and jaded veteran who’s seen her share of insanity. I also enjoyed Cailee Spaeny as her young protegee, portraying her character’s naivete and desire to make a difference in the world. Wagner Moura and Stephen McKinley Henderson are also solid in their more minor journalist roles, as is Nick Offerman as the totalitarian President of the United States who started this whole mess. But Jesse Plemons steals the show with his one scene appearance, as an enigmatic soldier who takes the journalists hostage. Apparently he wasn’t even supposed to be in the movie until days before shooting, replacing an actor who dropped out at the last minute – talk about an actor who can make a lot out of a little!
Conclusion
Civil War is a well-crafted thriller that celebrates and upholds journalists as an important institution in our lives. It features some harrowing sequences that definitely elevated my heart rate and gave me the moviegoing experience I hoped for, even if it left me wanting more. The performances are strong from all, particularly Kirsten Dunst and Cailee Spaeny, as well as Jesse Plemons in his instantly-iconic cameo role. I wish the film had more to say in the end because it was ripe with so much potential that it ultimately doesn’t capitalize on. A fun film that was worth my time, but I won’t be thinking about it for long I fear!
VERDICT: B
All image rights belong to A24.
-Austin Daniel
Scriptophile 