Civil War focuses on four photojournalists, led by Lee (Kristen Dunst), who must travel across a country in chaos to capture it on camera.
From this premise, Garland brilliantly x-rays the profession and some of the debates that have always accompanied war journalists. He does so without moral judgement, with a totally immersive experience that feels very real.
Following the group of protagonists Alex Garland examines passivity in the face of violence, even when it is right in front of us. All that matters here is the photo, and above all the knowledge that you were there to immortalise it.
This inevitably brings to mind the ethical questions of the journalist, of putting our humanity before our supposed duty to inform above all else. Civil War makes us think about all this and more, reminding us at times of the also terrifying Nightcrawler.
As well as revolving around journalism, Civil War offers one of the most tense and anxiety-filled road movies cinema has given us in recent years.
Even with its differences, titles such as Children of Men come to mind, where constant uncertainty was part of the identity of the film itself.
From the moment the group begins their road trip, we witness several sequences that put us in an incessant state of nervousness. At the same time we witness a magnificent portrait of what would be a modern America at war.
Alex Garland offers several scenes that remain in the retina, the road being another character in the film (a certain scene justifies this statement, believe me).
All of this culminates in a third act that further enhances the film as a whole, with a precision in each and every department that is astounding.
From the sound, editing and Garland's own direction, Civil War shows an overwhelming sobriety. It is not surprising, considering that it is the most expensive film in the history of A24 (50 million budget).
