The latest from director Alex Garland, “Civil War,” arrives amidst a robust tradition of war films grappling with the complexities of violence. As Garland and cinematographer Rob Hardy demonstrate, the power of cinema lies in its ability to not just depict conflict, but to dissect its allure, horror, and the insidious cycle it perpetuates. The film, which features the destruction of national landmarks like the Lincoln Monument, draws parallels to classics like Stanley Kubrick’s “Paths of Glory” (1957) and even finds unexpected kinship with the immersive experience of video games like “Spec Ops: The Line” (2012).
Hardy’s approach, influenced by photographers William Eggleston and Saul Leiter rather than traditional war photography, prioritizes capturing the emotional core of a moment within a broader spatial context. This aesthetic, as he described to IndieWire, leans towards Kubrick’s framing techniques, emphasizing a deliberate distance that allows the audience to observe the unfolding chaos without being overwhelmed by it. This stylistic choice positions “Civil War” within a lineage of films that seek to understand, rather than simply glorify, the realities of armed conflict.
Kubrick’s “Paths of Glory” serves as a potent example. The film’s power doesn’t reside in expansive battle sequences, but in the claustrophobic tension of the trenches and the stark portrayal of the futility of war. Long tracking shots and masterful use of shadow create a sense of dread and confinement, mirroring the psychological weight experienced by soldiers. “Civil War,” like “Paths of Glory,” understands that the true horror of war often lies not in the grand spectacle of destruction, but in the quiet moments of fear and anticipation.
Further exploring the cinematic landscape of war, “Come and See” (1985) resonates with “Civil War” in its unflinching depiction of the psychological toll of witnessing violence. Both films emphasize the harrowing experience of bearing witness, lingering on the emotional impact on characters forced to confront unimaginable horrors. While “Civil War” may employ a more polished aesthetic, the shared focus on the internal struggles of those embedded within conflict creates a powerful connection.
Steven Spielberg’s “Saving Private Ryan” (1998) established a modern template for portraying combat sequences. Its fragmented, handheld camera work and deliberate editing rhythm immerse the viewer in the chaos of battle, while the score underscores both the valor and the tragedy of war. “Civil War” builds upon these techniques, demonstrating the enduring influence of Spielberg’s groundbreaking approach.
Interestingly, the article points to an unexpected influence: Michael Bay’s “Transformers” (2007). While seemingly disparate, the film’s mastery of creating a disorienting, overwhelming sensory experience through fragmented visuals and sound design has become a hallmark of modern action cinema, including war films. The sheer scale of destruction and the immersive quality of the action sequences in “Transformers” paved the way for a style that prioritizes visceral impact over narrative clarity.
Kathryn Bigelow’s “Zero Dark Thirty” (2012) also finds resonance with “Civil War” in its realistic and clinical portrayal of combat. The film’s use of night vision cameras and its focus on the tactical perspective of soldiers create a sense of immediacy and authenticity. Both films grapple with the complexities of modern warfare, presenting a nuanced view that avoids simplistic moral judgments.
Perhaps surprisingly, the article draws a connection to the video game “Spec Ops: The Line.” The game subverts the tropes of the first-person shooter genre, forcing players to confront the ethical consequences of their actions and the psychological toll of war. Like “Civil War,” “Spec Ops: The Line” challenges the audience to question the glorification of violence and to consider the human cost of conflict. The game’s ability to create a sense of immersion and mastery, only to then deconstruct those feelings, mirrors the anti-war sentiment at the heart of both projects.
“Civil War” joins a long and complex conversation about the nature of war and its impact on the human psyche. By drawing inspiration from a diverse range of cinematic and even interactive sources, Garland and Hardy have created a film that is both visually striking and intellectually challenging. The film’s success, as the article suggests, will depend on its ability to not only depict the horrors of war, but to inspire a desire for peace.
