Alex Garland shares a ‘deeply absorbing dystopian vision of the future’ in his new movie, ‘Civil War,’ starring Kirsten Dunst
Maybe it’s best to start with a rundown of what Civil War is not.
So what are we dealing with here? An exploration of combat journalists languishing in a moral gray area in the name of their jobs. Dunst’s Lee Miller is a veteran and celebrated war photographer who shows scant emotion while bullets are flying at her in New York City. She just wants to tell a story with her camera. Now she and her work partner, a writer named Joel , want to go to the White House to interview the reclusive and embattled third-term president.
The optimism of spring is often contrasted with the stench of death. In one harrowing scene that underscores the madness, a sadistic soldier standing in the greenery murders bystanders with the disarming casualty of swatting away a fly. It’s such a quietly chilling experience that the ensuing chaotic violence at the White House feels numbing and anticlimactic by comparison.
The logic of their assignment — more like their mission — feels askew as well. Who and where is the audience for these risk-taking journalists? Working cellular service is long gone; nobody uses a phone or has regular access to the internet. The closest thing this movie comes to a laugh is when Moura makes a wry aside about “what’s left of The New York Times.” Dunst and Spaeny take many photos throughout the journey, complete with a distracting camera clickety-click sound effect.
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