Revamped Article: A War Film Stripped Bare: The Unrelenting Brutality of Warfare
- Piece by Jake Coyle / AP*
Analysis of Cinematic Depiction: 'Warfare,' an In-depth Examination of Combat Scenes
Alex Garland and Ray Mendoza's Warfare is more defined by what it isn't than what it is. This 2025 film, set in 2006 Iraq, is a gripping, raw portrayal of the chaos and brutality of reality, drifting away from the familiar cliches of war movies.
In Warfare, there's an unwavering focus on the grit and intensity of the frontline experience, with no time devoted to discussing a broader military strategy or the backstory of the American forces. Gone are the heartwarming anecdotes about home-cooked meals or dreams of the future, reducing the characters to the essence of their roles. There's no room for emotionally charged close-ups, either.
Warfare aims to be nothing more than a grim and harrowing depiction of a single, unremarkable mission in the heart of Iraq. The camera follows a team of soldiers, moving with quiet determination as they navigate the war-torn streets of Ramadi, sweat dripping down their brows in the dark of night. They raid an apartment building, setting up a sniper position while keeping the terrified residents hidden in the shadows.
Through expert sound design by Glenn Freemantle, the film conveys the auditory cacophony of battle. Syringe-sharp gunfire pops and mingles with the cries of agony, creating an almost hallucinatory environment that is all too real.
The absence of diplomatic rhetoric in Warfare is staggering. The soldiers communicate using only precise and measured military jargon, words that echo eerily through the thick air. When the mission ends in a bloody, chaotic maelstrom, the only sound left hanging in the smoke-filled air is the terror-stricken wail of a woman left devastated by the destruction. "Why?" she screams, her voice barely audible over the deafening pandemonium.
A year after the release of Civil War, Garland returned with Warfare, a film that seeks to pull the veil off the romanticized notions of war by thrusting it up close and personal. Mendoza, an Iraq War veteran who served as a consultant on Civil War, co-writes and co-directs Warfare with Garland, based on his own experiences in Iraq. The film is billed as "based on the memories of the troops involved," and it delivers an unmatched level of authenticity.
Despite the film's grim intensity, it manages to convey a sense of camaraderie among the soldiers. Singer Eric Prydz's music video for "Call on Me" provides the backdrop for a brief moment of levity as the team slips into a moments-long dance, swaying together in harmony while the women on screen gyrate for them.
During the heat of battle, they move in perfect unison, their faces stoic masks of resilience. The soldiers of Warfare are well-trained and precise, a skilled dance of death and survival. When things begin to spiral out of control, it's not due to a failure to stay alert or a careless disregard for the lives around them.
The film's ensemble includes Cosmo Jarvis as sniper Elliott, Will Poulter as leader Eric, Kit Connor as Tommy, Joseph Quinn as Sam, and D'Pharaoh Woon-A-Tai as Mendoza. We learn nothing personal about these men, but they remain steadfast in their loyalty to one another, willing to do whatever it takes to protect each other even in the face of seemingly inevitable death.
The soundscape of Warfare is a testament to the movie's technical skill. Aside from its brutal portrayal of battle, the film is visually and aurally impressive, with intricate production design by Mark Digby and powerful, immersive sound design by Glenn Freemantle.
Despite its efforts to eliminate stale war-movie tropes, they do make a reappearance in a disappointing way. Like numerous films before it, Warfare adopts the convention of running credits alongside photographs of the real soldiers portrayed in the film, along with footage of the actors and filmmakers on set. While honoring the men who served is undoubtedly essential, this behind-the-scenes tone clashes harshly with the film's intense, gut-wrenching atmosphere.
The purpose of Warfare, as I see it, is not to lionize these Navy SEALs but to show the true, messy, and destructive nature of war. Set in Iraq, the film offers only one side of the story. However, I argue that the true enemy in Warfare isn't found on either battlefield; it lurks in the distant, detached aerial viewpoint from a US plane overhead that reduces every person to a mere screen of pixels.
This up-close, forensic portrait of war challenges the belief that there can never be an anti-war film. Warfare is not content to merely glamorize the violence of war; instead, it unrelentingly exposes the fear, confusion, and disillusionment that comes with every bullet and explosive blast.
- In the movie Warfare, there's hardly any time devoted to discussing broader military strategy or the backstory of the American forces, as it focuses more on the grit and intensity of the frontline experience.
- Warfare is set in 2006 Iraq and aims to be a grim and harrowing depiction of a single, unremarkable mission, drifting away from the familiar cliches of war movies and romanticized notions of warfare.
- The film Warfare is not just about war-and-conflicts, but also showcases an unmatched level of authenticity, as it is billed as "based on the memories of the troops involved."
- The movie Warfare offers an unspectacular portrayal of a team of soldiers, their lives filled with fear, confusion, and disillusionment, rather than heartwarming anecdotes about home-cooked meals or dreams of the future.
- In addition to entertainment, Warfare serves as a powerful commentary on politics and general news topics, challenging the belief that there can never be an anti-war film by unrelentingly exposing the reality of warfare.
