Exploring the Depths of Alex Garland’s Civil War: A Reflection on Human Strife and the Power of Journalism

Earlier this year, the movie “Civil War”, an exploration of what the fallout of a modern day civil war in the US would look like, was released. The premise of the film instantly drew the attention of a multitude of viewers, and I found myself inquisitive. Going into the movie with no prior knowledge left me reeling long after I had departed the theater. I have since read countless discussions surrounding the movie, and below is my take on the film. 

Apolitical Landscape: Shifting Focus to Human Struggles

In Alex Garland’s “Civil War,” the motivations behind the conflict are deliberately left ambiguous. The film does not give insight into how the war began, or the political ideologies of the warring factions (namely, the unexpected alliance between Texas and California). This perplexing union, especially given the states’ starkly contrasting political inclinations, has sparked much debate amongst viewers. The top comment for the movie on Letterboxd (a popular movie review site) humorously questions, “ I genuinely want to know what the president did that made Texas and California join forces” (Tyler, 2024). The answer lies in the presidency’s authoritarian turn, illustrated by his disbandment of the FBI, air strikes on citizens, and self-election for a third term. Ultimately, what tears the country apart and brings together alliances is not which party they favour, but the universal struggle under totalitarian control, especially for such a “free country” as the United States.

For me, Garland’s genius lies in his decision to forsake a clear political divide, instead shifting the narrative focus to the citizens and their struggles during civil strife. This approach underscores that a movie does not need to be divided into left or right, Republican or Democrat, to be profoundly political. Politics extends beyond party lines, and the film doesn’t hide behind a “facade of apoliticism”, as many believe. Instead, It presents a raw, candid look at the human condition amidst chaos. The various actions of characters in the film provide an overview for the effect of strife on diverse personalities. Garland is not cowardly for “not taking a stand”; instead, he avoids falling into the trap of partisanship and reforms the atrocities we see everyday in the news, in popular media, into a modern American landscape. This narrative choice serves as both a warning and a wake-up call, highlighting that such turmoil is not confined to distant lands—it could happen in your home too.

Journalism as a Force for Change: A Dual Perspective

At the heart of “Civil War” is a complex portrayal of journalism. The film follows a diverse group of journalists on a journey across the war-torn USA to interview the president, who is about to be seized by the western forces (California and Texas). This group includes Sammy, an aged African-American writer for the New York Times; Lee Smith, a renowned war photographer; Joel, a thrill-chasing journalist; and Jessie, a young aspiring photojournalist. In their journey, they encounter the realities of war. At a gas station pitstop, their attempts to buy gasoline with 300 US dollars is met with laughter, as it would only be sufficient for a ham sandwich. In this same segment, Jessie goes off to investigate the car wash, and is followed by one of the armed young men presiding over the gas station. She is faced with two bloodied men hanging from their wrists, who we soon realize, with horror, are still alive. The young man reveals they are two looters, one even having gone to school with him. Perhaps “he never spoke to me” was his real crime. This calls into question the issue of war being used as a cover for vigilantism and self satisfaction, where one can get away with cruelty in the midst of chaos. 

Many viewers interpret the film as a critique of the media, emphasizing how journalism can become sensationalized, focused more on capturing the “perfect shot” than on substantial reporting. Lee states “we record so people ask”, after the incident at the gas station. That is the heart of journalism: capturing the realities at face value and allowing people to form their own opinions. This is similar to Garland’s goal in his creation of the movie. He tells this story from an unbiased lens, as he values objective war photography’s role in anti-war movements. He states in an interview with Dazed.com, “you wouldn’t want to accidentally make a pro-war film, and this is intended as an anti-war film. It’s not showing civil war as fun, desirable, or leading to a good outcome”. 

The Cycle of Hope and Disillusionment

The dynamic between Jessie and Lee serves as a powerful narrative thread. Jessie represents a younger version of Lee, one who is full of hope and determination to make a difference through her work. Lee, after years of witnessing suffering, and not seeing the impact of her work, has begun to lose hope in the profession. We see hints of this loss while they visit an idyllic town frozen in time, and Lee remarks that the town looks like “everything I had forgotten”, implying that perhaps she has forgotten what she is fighting for. Sammy’s answer, on the other hand, where he states it is everything he remembers, serves as a contrast that he still holds peace in his heart, and longs for the past, perhaps even being caught up in it. 

In the final sequence, Lee sacrifices herself for Jessie, and Jessie simply takes a photo and moves on. This scene drives home the message that the photographer is not what matters, but the story that the photographs tell. In this scene, Jessie’s actress later mused,  “you’re watching a transition right before your eyes. I think that is the moment that Lee is passing that torch on. Jessie’s now crossed over into the same zone as her hero. For better or for worse, this is her life now.”

The Struggles of the Common Man in War

Several moments in the film stand out for their poignant commentary on human nature and conflict. Joel’s interaction with soldiers who admit they are fighting without understanding the reasons, simply because “they’re shooting at us so we’re shooting at them,” reflects the often senseless cycle of violence. The scene takes on the point of view of foot soldiers in wars, and questions whether they are aware of why they are engaging in the conflict, and what the meaning of the conflict is. 

Additionally, the portrayal of a seemingly idyllic town that chooses to ignore the depressing news underscores perhaps their willful ignorance, but also their ability to endure and continue living life in the midst of civil unrest.

The Fallout of National Conflict: Harrowing Realities

“Civil War” does not shy away from depicting the grim realities following national conflict, including vigilantism, mass graves, and executions. One of the most harrowing scenes features a nameless soldier, played by Jesse Plemmons, who coldly questions two captured characters while overseeing the disposal of bodies into a mass grave. 

The scene in question occurs halfway through the movie and is a turning point in which the characters become shaken after themselves becoming the victims of the conflict. During their journey, Jessie trades spots with a journalist named Tony and splits off from their group. During this time, she is captured by two men dressed in camo who could be soldiers, but whose alliance is ultimately unclear. As the others approach to assist, they witness the  “soldiers” dumping bodies into a mass grave. Plemons’ character’s interrogation reveals the insidious nature of his racism. Joel’s accented English along with his nervous stutters incites laughter in the soldier and his assertion of being “American” is met with the cold and evaluative question, “what kind of American are you?” This question is loaded with implications, distinguishing between “acceptable” Americans and those who, because of their ethnic background or perceived loyalty, are deemed as outsiders and thus expendable. 

Tony, breaking down, admits he is from Hong Kong, and is immediately shot dead. The horror felt by the characters on screen is reflected within the viewers; the mounting disgust I felt became shock once Plemons real agenda was made clear. After Sammy rescues the group by running over the soldier, Jessie falls into the grave. The camera slowly zooms out from her struggling amidst the bodies, who stand out starkly due to the lime scattered over them, and the scale of the destruction is thus finally made clear. Through this scene, Garland illustrates the lethal consequences of racial stratification. The visual of nonwhite bodies being discarded in mass graves drives home the horrific reality of ethnic cleansing—an attempt to purify the nation by exterminating those considered other. 

This character’s agenda resonates on a global scale, reflecting real-world instances of systemic racism, where conflict is used as a cover for ethnic cleansing. History is marred by such atrocities, from the Holocaust to the Rwandan Genocide, and more recently, events in Mynamar. In each of these instances, ethnic cleansing is driven by a combination of political power struggles, and a desire to create a homogeneous society by eradicating perceived outsiders.

In Civil War, Garland mirrors history, showing how quickly society can descend into barbarity. The film’s ambiguous political landscape allows the viewers to project contemporary issues onto the narrative. Garland’s choice to remain politically neutral emphasizes that these horrors are not bound by specific ideologies, and are instead a universal human failing.

Furthermore, the question, “what kind of American are you?” not only highlights overt racism but also the more subtle, insidious forms of prejudice persistent in society today. This question implies a hierarchy of ‘Americanness’, where certain ethnicities are more valid than others. The sequence mirrors real-life scenarios where racial minorities are questioned about their loyalty and belonging. 

Garland’s Vision: Provoking Thought and Discourse

Alex Garland revealed in an interview his two main goals for creating the film: to emphasize the importance of journalism, and also to encourage discourse on the individual level. When he first brought up his plan he was faced with doubts that “everyone hates journalists”. But Garland insisted that this is a vital profession, one that is as crucial as that of a doctor. 

Some critics argue that setting the film in modern day America is insensitive given current events.  But I believe it is precisely what the world needs, a reminder that even seemingly invincible nations are not immune to internal collapse. By placing the conflict in a familiar context, Garland ensures a deeper impact, making the audience confront the painful realities faced by war-torn societies. 

Overall , “Civil War” is a thought-provoking film that transcends simple political binaries to explore the complexities of human struggle, and the role of journalism. Ultimately, the movie asks the audience to make up their own mind about war, and hopefully, open the door to meaningful discourse. 

Works Cited:

1. Deckelmeier, J., & Tyrrell, C. (2024, April 8). Civil War Director Alex Garland On Making An Honest War Movie That Doesn’t Sensationalize Violence. ScreenRant. https://screenrant.com/civil-war-alex-garland-interview/
2. Ma, W. (2024, April 4). Distressing film Civil War is “extremely political.” The Nightly. https://thenightly.com.au/culture/film/alex-garland-says-his-civil-war-movie-is-extremely-political-c-14192737
3. Robinson, T. (2024, April 11). Alex Garland says he has a 2-part agenda for his action movie Civil War. Polygon. https://www.polygon.com/24126438/civil-war-politics-alex-garland-interview
4. Tyler. (2024, April 8). A ★★★★½ review of Civil War (2024). Letterboxd.com. https://letterboxd.com/mistat/film/civil-war-2024/
5. Welsh, O. (2024, April 20). Jesse Plemons’ Civil War character says the quiet part out loud. Polygon. https://www.polygon.com/24134902/civil-war-jesse-plemons-bodies-scene
6. Image: Lee in a Western alliance war base, https://foreignpolicy.com/2024/04/13/civil-war-movie-review-garland-us-politics-election-trump/