Civil War Review: Kirsten Dunst Shines In Alex Garland’s Powerful, Ambiguous War Epic

It would be easy to assume that Civil War is an alternate take on the events of January 6th, but director Alex Garland instead chooses to approach his war movie from a more cryptic vantage point in the not-so-distant future of the United States. The project is an ambitious one for A24, whose usually smaller-budget films have yielded impressive results, and the final product is well worth the investment based on the visuals alone.

The opening scene immediately gives a feel for the cinematic language of the storytelling, offering a documentary-style peek at the U.S. President’s (Nick Offerman) preparations for his speech updating the nation on the current war. For reasons that remain unclear throughout the movie, Texas and California have seceded and are descending upon the White House, though the President assures his constituents that a military victory the likes of which American history has never seen is close at hand. The gruesome shots of fighting outside, however, paint a very different picture.

But he is not the center of the story — that honor belongs to Kirsten Dunst’s war photographer Lee Smith and her merry band of fearless journalists, jovial Joel from Reuters (Wagner Moura), wise Sammy from The New York Times (Stephen McKinley Henderson), and hopeful novice Jessie (Cailee Spaeny). Together they will document the horrors they encounter on the way to the capital as unflinchingly as possible. Civil War confronts viewers with the brutality of war and the necessity of objective journalism, but the moments of quiet humanity are its strength.

Civil War’s Impartial Approach Is Fascinating Yet Frustrating

The earlier mention of Texas and California probably piqued plenty of interest, because it seems unfathomable that those two states should link up for any reason. Civil War provides little in the way of explanation or backstory, giving the impression that its filmmaker wishes to avoid current political discussions. Such a creative choice certainly helps the movie feel more timeless, and may even convince both Democrats and Republicans to enter the theater, but it also takes away from the intended message.

Journalism in today’s climate is under attack because citizens do not feel they can trust either corporations or governments, and media outlets are viewed as working for one or the other. One person’s truth is often another’s bias, so in a way, it’s smart of Garland to remove ideology from his screenplay. No one will claim that Lee’s photographs or Joel’s questions carry an agenda if they have no idea what that agenda is.

Dunst is the actor who most benefits from the vague worldbuilding, as her character fights to maintain her stoicism while faced with the decimation of civilization. She both loves and hates her job, understanding the importance of getting the right shot while hoping her success serves as a warning sign rather than a siren song. Watching the cracks in her armor widen as her vulnerability seeps to the steely surface is as painful as it is powerful, and depending on 2024’s crop of award hopefuls, her performance may net her the Oscar that The Power of the Dog failed to.

That’s not to say the rest of the cast is less impressive than she is, but rather that their characters do not feel as fleshed out. One exception is McKinley’s Sammy, whose age and compassion cause him to be discounted by his fellow travelers, but who offers some of the movie’s biggest surprises — and its best action scene. Of course, his presence (and lack of screen time) also begs the question of the role race plays in Civil War. The title and setting of Garland’s movie make the lack of direct discussion about race seem like a strange disconnect.

Enter Jesse Plemons in his small but mighty role as a corrupt soldier abusing his power even as the structures supporting him fall all around him. His section of the story may be the most “political,” as well as the one most likely to create divisions among the audience. Personally, I was put off not only by his character but by the movie’s handling of his actions, and yet that may well have been the whole point.

Civil War’s Cinematography Imbues The Movie With Understated Emotion

Despite its larger than normal budget for A24, parts of Civil War appear to be filmed on a handheld camera — which is a boon for the immersive storytelling and plays to the movie’s advantage. It’s easy to be transported to the circumstances and mindset of a photojournalist when literally looking through their lens, and as such the camera work makes us feel closer to the characters than listening to their backstories does. It also brings us closer to the violence on the streets, underscoring how close the nation is to unimaginable discord in reality despite the murky circumstances.

Civil War tracks Lee’s state of mind to a degree, with the camera becoming shakier or more unfocused the more destabilized she is, while also literally pausing the action to display the images she and Jessie have captured. They may not win Pulitzers for their work in-universe, but the moments spent on their photos showcase why they should. Film is a visual medium, which may be why there is much more focus on their work than the investigative or interview journalism that Joel and Sammy do, but the group as a whole feels effective nonetheless.

Without a doubt, Civil War is a technical masterpiece that makes full use of the cinematographic tools at its disposal, and for that it deserves commendation. Dunst’s performance is a revelation, buoyed by strong performances from the ensemble of seasoned and dedicated actors surrounding her, and they keep the story’s heart beating even when the screenplay fails to deliver specifics. But perhaps the most important thing is that the movie opens the door to a discussion about responsible journalism when it is most sorely needed.