Film Pick of the Week: Civil War - review by Yvette Huddleston

An authoritarian third-term federal government led by an arrogant, self-serving US President (Nick Offerman) is battling against secessionist movements – the so-called Western Forces, led by the states of Texas and California, and the southeast Florida alliance.

Despite the president making statements that victory for the government forces is imminent, the truth is that the secessionists are gaining ground fast and are heading towards Washington DC. Journalists covering the rapidly unfolding events are aware that this confrontation – between the presidential forces and the secessionists is the story that everyone will be chasing. Seasoned photojournalist Lee (Kirsten Dunst) – a nice reference to Second World War photographer Lee Miller – and her Reuters journalist friend and colleague Joel (Wagner Moura) are keen to get there first and make plans to drive from New York City to try and interview the president before he is captured. Along for the ride are veteran New York Times journalist Sammy (Stephen McKinley Henderson), Lee and Joel’s unofficial mentor, plus aspiring young photographer Jessie (Cailee Spaeny). Lee can see something of her younger self in Jessie but she turns out to be a bit of a liability.

As the four travel interstate in their well-marked Press vehicle, they witness a number of skirmishes, which they capture on film, and encounter some extremely threatening and dangerous individuals, all armed to the hilt. (Dunst’s real-life husband Jesse Plemons makes an uncredited appearance playing the most disturbing of these, as a vile racist bigot). The script sensitively explores the complex ethics of war photography, the important role journalism plays in calling to account the worst of human behaviour, and the psychological toll that takes on those engaged in bearing witness. It also has some pertinent things to say, albeit not explicitly, about American gun laws.

What makes it so unsettling is that many of the images of street tussles and violent, baying crowds recall the attack on the Capitol Building by Donald Trump supporters in January 2021 who believed that the presidential election, which Trump lost, had been rigged in Joe Biden’s favour. It means that the film’s narrative has a potent relatability and immediacy – this is not a totally outrageous, sci-fi scenario, on the contrary, as divisions in society continue to deepen, it is becoming increasingly within the realms of possibility.