New York— Alex Garland's films have brilliantly shown a virus-caused pandemic (2002's “28 Days Later”), an untamed artificial intelligence (2014's “Ex Machina”), and, in his latest, “Civil War,” a near-future America in full war.
Most directors with such a track record can likely tap into the zeitgeist. Garland disagrees. He thinks he's dealing with inescapable truths that don't require big vision. He composed “Civil War” in 2020, when COVID-19 was tearing societies apart and everyone was worried about it.
“That was pretty deafening back then,” Garland says. This is slightly past zeitgeist. It's oppressive.” “Civil War” threatens to turn American fears into violent, disturbing movies. Garland's film releases Friday, the Civil War's anniversary. It may be Hollywood's most combustible film of the year, released only months before a crucial presidential election.
Trailers for “Civil War” have teased its release for months. California and Texas united? “Science fiction,” said one. Another added, “This single movie had the best 8 year marketing campaign of all time.” Yet “Civil War” is much more ambiguous than its title suggests. The Garland-written and directed picture doesn't directly address current polarization. California and Texas have united against a fascist president (Nick Offerman) who has snatched a third term and abolished the FBI in a conflict that has decimated the nation.
A group of journalists (Kirsten Dunst, Cailee Spaeny, Wagner Moura) go to D.C. Witnessing bombings, firefights, and executions in modern America disquiets the picture. Civil War was largely shot in Georgia to take advantage of tax savings. This is a depressing answer for anyone who has questioned “How bad can it get?” in recent years, a concern some polls have shown is 40% of the public.
Garland told a recent interview that “when things collapse, the speed at which they collapse tends to surprise people — including intelligence officers whose job is to watch and predict when these things will happen. “Things are always slightly more dangerous than they might appear.”
Garland, 53, a British filmmaker who wrote “28 Days Later,” has long been captivated by society's gradual disintegration. He argues Western democracies can overestimate their exceptionalism. His view of “Civil War” is not cynical. A warning shot. “The consequences of it are so serious that to not take the threat seriously would, itself, be another kind of insanity,” adds Garland. It would be complacent.”
Hollywood has channeled, reflected, or capitalized on political conflict in past election seasons. Universal Pictures and Blumhouse Productions launched “The Hunt,” a “Most Dangerous Game” riff in which liberals kidnap “rednecks” and “deplorables” to hunt on a private preserve before the 2020 election. The film was delayed when right-wing critics (then-President Trump stated it was “made in order to inflame and cause chaos”) criticized it. When “The Hunt” opened in March 2020, it was a more balanced left-right satire than expected.
Although there have been online rumblings over "Civil War"'s scheduling, conflict has not yet ensued. Garland's technique may explain that. The film makes few direct references to America's fundamental political divisions. Combining Texas and California eliminates the “blue state”/“red state” divide. No one seems divided by race or income inequality. The president's party is unknown.
“I had never read a script like this,” Dunst stated at the SXSW premiere. “And I had never seen a film like this.” Instead, “Civil War,” set in the near future, draws subtle parallels to today's political and cultural divisions. Jesse Plemons plays a vile militant who asks the main characters, “What kind of American are you?” Charlottesville, Virginia, site of the 2017 white nationalist demonstration, is called a combat front despite never being observed.
The picture is basically reporting,” Garland says when asked about that choice. However, the filmmaker admits balancing was difficult. “Yes, it was a (expletive) delicate balance,” Garland says. “We debated and discussed what was appropriate. Look, the goal is to develop a captivating and entertaining picture that sparks a discourse. How can you avoid destroying a conversation in the first part of that equation?
Garland highlighted “Civil War” with media. Garland's film is mostly about reporters' crucial role in capturing deadly events. Garland claims unbiased reporting has declined. In “Civil War,” it's attacked. “What I wanted to do was present journalists as reporters,” Garland adds. They may be conflicted and compromised, but they believe in journalism.
“Civil War,” A24's most expensive film, cost $50 million. The independent studio wants to expand its reach beyond arthouses (“Civil War” will play on IMAX screens) and its critically praised films. Ironically, “Civil War” seeks bigger audiences. “A lot of the boldness is not actually mine,” adds Garland. I guess A24 owns it. People always try to make these flicks. They may have been supported to manufacture them.”
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