If we know Alex Garland for his contributions to science fiction or fantastic, like his work as a screenwriter on 28 days later or 28 years lateror to the realization ofEx Machinawe know that the guy has an approach to realism that makes him a renowned author. You just have to see his recent Civil War To understand that he knows how to place himself at the heart of the field and tell us about true stories or almost.
Suddenly, it is not surprising to see him tackle the war film, he who had just sketched the genre in his previous film. For Warfarehe worked in the script and behind the camera in collaboration with Ray Mendoza, a true actor of events. An almost documentary approach that can disarray, but which also marks its singularity. Two ways of seeing that are all good reasons to take a look.
Warfare’s (true) story
In November 2006, in Iraq, an American Navy Seal unit took up position in the city of Ramadi, in order to support a marine operation. Occupants a inhabited house, they quickly suspect that a group of jihadists are preparing to attack the building. If things go wrong, they know they will find it all to get out alive …
A film to see that will not appeal to everyone
We said before, Warfare is the fruit of collaboration between Garland and Mendoza. The experience of director and screenwriter of one makes it possible to put in images the memories of the other, for a result which does not fully resemble a baby of the filmmaker, nor completely a documentary. A hybrid disconcerting at first glance since it is not the context or the construction of the characters that suffocates it.
On the contrary, after a quick atmosphere plan, we are immersed in the heart of the subject, within this house that we will have to occupy and in which we will then have to exfiltrate. A film almost in camera, between the two floors of the building. In the idea, the project may suggest a repetition of The fall of the black hawkbut only in the idea.
Because here, nothing that we see will come out of the head of the soldiers who have experienced the events. We are completely immersed in the situation with these men, faced with an almost invisible threat. From this feeling of oppression born the tension and this great stranger to know how it all will end. A feeling reinforced by a Action filmed in real time And where every minute can save lives or cause dead.
It is also interesting to observe the way Garland and Mendoza use the military tools at their disposal to show us to see the outside of the makeshift refuge. To show without showing thanks to plans out of drones cameras or the multiple elements that reach us from communication frequencies. The information is there and only accentuate the panic wind that blows on the spine of isolated soldiers. We hear panic And we see the repercussions on the face of the concerned.
A concern for realism Who lives in the whole film and gives us sequences that we are not used to seeing other films like. No, each shot does not fly, yes, you have to think about recovering each piece of equipment or armaments left on site or on the ground, and the instructions rain before each action. Even blood flows with this taste for reality and leaves wounds far from being beautiful to see and we suffer at the same time as them. Warfare manages to be spectacular by being anti-spectacular. And this is where we find a certain filiation between this feature film and the Civil War of Garland.
However, it is easy to think that the film will leave more than one on the tile as it thwarts expectations. The documentary approach prevents sensationalism and the minutes can flow for a long time before an event comes to shake the coconut palm. In the same way that there were disappointed with the lack of “War” In Civil Warthe lack of “War” In Warfareeven if the war is however there, could dismiss the action fans.
Warfare is a unarken film that respect the codes of the genre While avoiding all the fictional aspects of a story. It is as fascinating as it is snoring. It is a singular experience which can pass for a major cinematographic work as well as a beautiful advertisement for the American army and its united guys. Because yes, no other point of view, no words about the interest of the Rican presence, nothing political here; just uniforms that support themselves to the end of the boots. A film of his time which does not leave indifferent. And it’s already a great reason to give him a chance.
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