The romanticized idea of a journalist is an objective observer dedicated to showing the world the truth. This role is vital to the dissemination of information to the masses, and one that is essential in a world run by politicians. That is probably why journalism movies are often so compelling, as they represent the voice of the voiceless; the one light that shines bright on the corruption and lies that would otherwise would go unnoticed and subsequently unpunished. Yet, if they are truly objective and never intervene when they could potentially stop horrors from happening in the first place, are they just as guilty as those committing the heinous acts? Alex Garland’s new film raises this question but offers no definitive answer.
Lee (Kirsten Dunst) is a war photographer who has found herself surprised to be covering a war on U.S. soil. She and her writing partner Joel (Wagner Moura) have decided to take their shot at getting an interview with the President of the United States (Nick Offerman) before the war comes to an end. They pick up Lee’s mentor, Sammy (Stephen McKinley Henderson), and eager rookie, Jesse (Cailee Spaeny), before heading off on a trip that very well could be their last.
Dunst has proven her ability, but there is something extra in her performance. Her character has seen and taken pictures of some tremendous atrocities. The thousand-yard stare she delivers down the barrel of Garland’s camera is intense. There are moments, though, where her character shows that maybe there is still some humanity left in her. A laugh or smile breaks through enough to show that maybe we can recover from the things we’ve seen and done.
Spaeny is an aspiring journalist who is motivated to make a difference with her camera. However, she isn’t quite ready for the horrors of war. Her reactions to the horrifying images she captures with her camera are reflected on her face. As she gains more experience, those reactions change and shift, partly due to the teaching Dunst offers along the trip. The way Dunst and Spaeny play off of each other is incredible and makes for important parts of the film.
The other two major characters in the film are Moura and Henderson, who fill up the press vehicle that is the home during the character’s road trip. They also contribute often and allow for the overall analysis of journalism that Garland seems interested in by representing other perspectives of the craft. Henderson is the old-school journalist at the end of his days, but still compelled to chase the story. Mourna is a bit younger than Henderon’s character, but he is driven by the hunt for the big story.
The structure of the film feels a bit like Apocalypse Now. Dunst’s blank look reminds one of Dustin Hoffman staring into the ceiling fan. Like the class war film, the team of reporters moves from one situation to another on their hunt for the man in charge. They are hoping to get the last interview with the President before the conclusion of the Civil War. Nick Offerman is the president, and always sits at the end of the journey, much like Colonel Kurtz. Things in Garland’s film aren’t a one-for-one with Apocalypse Now by any means, but the imagery and structure feel familiar in a meaningful way.
Garland is excellent at the set-up/pay-off element of storytelling. It is safe to assume that nothing happens in his stories by accident. An off-handed comment from one character will likely be used to land a point in the third act. One of the many powerful visuals shown in the film will take on a deeper thematic meaning later. This is one of the core elements that draws me into his films because he essentially hands you a partially solved Rubik’s Cube and encourages you to finish solving it as you leave the theater and into the next day.
Likely, Civil War won’t work for everyone. Some may find it too real, while others may feel it distorts reality too much. Whether you agree with the themes or find it lacking in substance, the sheer execution of cinema will likely keep you hooked from beginning to end. The tension and set pieces in the film feel undeniable. There is something more to chew on than just the story, but it is a marvel of the craft.
Civil War will be in theaters everywhere on April 12.
Rating: Must See.
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