Set in a dystopian future where regional blocs have rebelled against the authoritarian federal government, A24’s “Civil War” serves as a blunt commentary on the political polarization plaguing the United States. With notable casting and a tense script, the film immerses viewers in the harsh realities of U.S. politics as it follows renowned photojournalist Lee Smith (Kirsten Dunst) and her companions’ journey across a war zone to interview the dictatorial president (Nick Offerman) before Washington, D.C., falls to rebel forces.
The film is replete with classic A24 gore and startling scenes, evoking memories of previous horror pieces like “Hereditary” and “Midsommar.” What sets “Civil War” apart is its lack of supernatural elements, grounding the true horrors depicted in the film in the harsh reality of societal trends toward political militant violence.
Dunst delivers an amazing performance as the leading woman, perfectly embodying the role of a veteran war photographer who has been emotionally hardened by the horrors of her work. This role truly played to her strengths as an actress. The duality between her character and the young Jessie Cullen (Cailee Spaeny), whose versatility as an actress is shown through the drastic departure from her recent appearance as the lead in A24’s “Priscilla,” illustrates the evolution from girlhood to womanhood in a mentally grueling field.
Beyond Dunst’s performance, I would be remiss not to emphasize the cinematography of “Civil War” as a standout aspect of the film. It serves to enhance its thematic depth and emotional resonance. A24 usually does justice by its productions with masterful camerawork and visual composition, and this was no exception. The film captures the gritty realism of its subject matter, immersing viewers in the tumultuous world of political polarization and societal unrest. Sweeping wide shots convey the scale of protests and conflicts. Take, for example, the opening scene that utilized a first-person viewpoint of police brutality to shock viewers into an attentive state.
The intimate close-ups that revealed the raw emotions of the actors added even more depth to every frame and were meticulously crafted to evoke a sense of immediacy and intensity. Especially during the multitude of scenes depicting the sudden deaths that characterize war, the close-ups of bodies and those around them really made you feel as if you were experiencing the loss of life firsthand. The use of lighting and color further enhanced the mood and atmosphere, with stark contrasts and muted tones reflecting the bleakness of the film’s narrative. Overall, the cinematography truly elevated the storytelling, creating a visually stunning and thematically rich cinematic experience.
While the plot may be somewhat less inventive than other A24 productions, the sharpness of the rising actions and climax alleviates the predictability to a certain extent. If I were to describe this film in one phrase, it would be this: comedic yet disturbing, with a tasteful amount of tragedy. Despite my frustration with the ending, “Civil War” left a lasting impression on me, a testament to its success.
Moreover, the experience of attending the movie during the press release profoundly influenced the surrounding emotions. As I sat in a room full of journalists, the irony of watching a film about journalists in a city where journalism is a prevalent industry was palpable. The sounds of pens scratching on paper after every intense scene underscored the film’s message about societal desensitization and the disconnect between interpersonal relationships, which is particularly evident in the chaos of political systems.
“Civil War” provides an eye-opening experience that transcends the screen, prompting viewers to reevaluate their perspectives on the world around them. While it may be docked slightly for predictability, its strengths in cinematography, casting and relevance warrant a relatively high rating. As young college students in the District, I highly encourage everyone to see this film and subsequently see our society for what it is becoming.
