Divide and Conquer: ‘Civil War’ Takes No Prisoners in Its Portrayal of American Discord
Civil War (2024)
Directed by Alex Garland
Starring Wagner Moura, Kirsten Dunst, Cailee Spaeny and Jesse Plemons
By Matt Ashworth
There is no subtlety in Civil War, the latest from English writer/director Alex Garland (Men, Annihilation, Ex-Machina). The film dives headlong into America’s charged political landscape, making it a potent conversation starter that has quickly become A24’s second highest grossing film of all time (after 2024’s Everything Everywhere All At Once). Perhaps 2024 isn’t the time for subtlety, though, especially when it comes to exploring the potential outcomes of an increasingly polarized political climate.
The title alone is a declaration, challenging viewers to see their own political reflections without ever hearing ‘Republican’ or ‘Democrat’ spoken in the film. That said, if you’ve been unfortunate enough to hear any of the hot takes from political pundits purporting to understand the film’s ideology or the director’s motivation, ignore them. It doesn’t matter. Garland’s choice to pivot from the fantastical or sci-fi elements of his previous films to a realistic depiction of a modern American civil war is both brave and commendable. He’s created a stark, visceral vision of states trying to secede from the U.S. federal government and people struggling to find their way in this fractured reality.
As a journalism major who’s made a career around examining the media’s role in shaping culture, I was particularly drawn to the film’s portrayal of investigative journalism. The two main characters, portrayed by Wagner Moura and Kirsten Dunst, embody the ideal blend of skills and traits necessary for a two-person journalism team operating in such a tumultuous environment. Their dynamic, marked by a compelling mix of tenacity and intellect, adds authenticity and depth to the film’s narrative. The performances from all three lead actors (Moura, Dunst and Cailee Spaeny), are exceptional, especially Moura, who contributes to the film’s pace and intensity in the way his character navigates the trauma and excitement of war reporting with irreverent humor and a cynical worldview. Meanwhile, Jesse Plemons’ short time on screen feels destined to be revered by film nerds as reverently as other brief but memorable performances as Alec Baldwin’s seven minutes on screen during Glengarry Glen Ross.
The dialogue, at times cheesy enough to elicit an eye roll with lines like “freedom isn’t free, but it’s worth fighting for,” might initially seem out of step with Garland’s usual complexity. However, it adds an unexpected layer to the narrative’s texture, almost as if it’s winking at us the whole time. This choice, while surprising, paves the way for the film’s immersive sound design to take center stage, creating an experience that places viewers in the heart of urban combat scenes so intense, I found myself ducking for cover in my theater seat.
This sense of immersion is further amplified by the film’s score and soundtrack, with notable contributions from the band Suicide and other influential tracks that significantly enhance the mood and advance the storyline. However, there are moments where the music choices clash with the scene’s tone, veering into music video territory which might not resonate with everyone.
Ultimately, Civil War is a cinematic achievement that offers a terrifying and believable depiction of what a civil war in modern-day America might look like. It commands attention – not because it makes a political statement, but because it doesn’t.
Matt Ashworth is a publisher and co-founder of NadaMucho.com. He’s on Instagram and Twitter/X. He collects vinyl and enjoys playing ping-pong.