‘Civil War’: An Assault on the Senses That Fights on an Empty Apolitical Battlefield

Civil War is an assault on the senses. Our ears are deafened by bombings, military helicopters, gunfire, and the silence of violence’s aftermath. Our eyes are overwhelmed by flashes of riots, destruction, and death. The images of warfare are striking and the action is engrossing. Examples of this aren’t more potent than when they are captured through the lens of a photojournalist’s camera.

Civil War Review

The film’s most important weapon is a camera; its most important sound is a camera shutter. Alex Garland’s latest film invites the viewer to his vision of a war-torn America where journalists have a front-row seat. Despite Civil War turning out to be a strong homage to journalism, especially war photographers, it’s vapid. The film is full of violence with no beginning and with purpose. Garland has very little to say about the warfare he is depicting. Edwin Starr once sang,” War, huh, yeah / What is it good for?” The question here is: Civil War, what is it good for?

The States are no longer united, and the President (Nick Offerman) promises to eliminate the final pockets of resistance. Insurrection has resulted in military campaigns against secessionist forces. The country is now divided into the Western Forces of California and Texas, the Loyalist States, the New People’s Army, and the Florida Alliance. The details of this dystopian America, specifically the basic hows and whys – like how these groups came to be and why – are never explained. Details of anything to do with the war aspect of the film don’t seem to matter. However, what is of importance is the central group of characters.

The film is just a road trip movie about a dysfunctional family – and what a fantastic group whose work we are privy to. Through them, we see the bravery of war journalism. Lee (Kirsten Dunst), renowned in her field as a photojournalist, is unafraid to shoot her lens right in the middle of the action. Out of all the characters, she gets the most focus, especially when it comes to her past on the field documenting one death after another. She can come off as cold, but it speaks to the numbness that this job requires.

However, through Dunst’s performance, you can see that the heaviness of everything she has seen in her career is growing more difficult to carry. It’s fascinating to see her change throughout the film as her experiences begin to affect her. Dunst expresses all of Lee’s emotions in a quiet performance that relies heavily on facial expressions. Meanwhile, Wagner Moura as her journalist colleague, Joel, isn’t afraid to just let it all out, expressing his emotions outwardly – often in drowned-out screams. 

The pair are on their way to DC to photograph and interview the President…but it won’t be easy. They risk getting shot dead on the South Lawn or risk the Western Forces killing the President before they can get their money-making shot and quote. Journalists are often chasing the same story, and this is no different. Lee reluctantly agrees to have veteran journalist, Sammy (Stephen McKinley Henderson), who works for the New York Times, tag along with them on this story. But their SUV gets a little too crowded for Lee’s tastes when Joel invites an aspiring young photographer, Jessie (Cailee Spaeny), to accompany them on their journey. It’s a risky and difficult road they’re travelling on and Lee makes it clear she doesn’t have time to babysit.

However, Lee becomes a mentor to Jessie and you see her grow more ambitious, even careless, under Lee’s influence. Thrilling tension revolves around the group at all times, whether shooting their cameras in the middle of a firefight or getting into precarious situations off the battlefield. It’s also just entertaining to listen to their contemplative conversations over a drink and a joint, while gunfire lights up the sky. These characters are the glue that holds the film together, and even in the emptiness the script presents, their images of the war that flash onto the screen in black and white not only showcase the film’s technical strength with editing but also bring emotion that is otherwise lacking. 

You have to be numb as a war photojournalist, and as an audience, it’s hard not to feel numb when watching Civil War. It does make some good commentary, though, when speaking about the images we are fed daily. As the group travels to DC, stopping at refugee camps along the way, they also drive through a small town frozen in time. It seems to be a place without war, as the scene focuses on a sprinkler watering a lawn, people walking their dogs, and even introduces a shopowner still working her till. It’s weird to keep going, acting like “normal,” when the world is in shambles around us. In another scene, a hip-hop song plays immediately after a soldier’s execution. There’s a disconnect created that, on one hand, takes away any weight from that act, but also highlights how easily we can switch to distraction. At a time when everything is documented, Civil War does make necessary points about how apathy is slowly dying. 

Despite its many strengths, Civil War ends up coming off as hollow in its necessity to appear centrist. The lines are blurred between left and right. You don’t know whose side anyone is on as the film fails to engage with the current political divide. Being apolitical isn’t something we can afford to do. What is the purpose of art if it doesn’t stand for anything? 

Grade: C