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Watching Warfare, created by Alex Garland and Ray Mendoza, allows viewers to delve into an intense portrayal of the 2006 battle of Ramadi in Iraq, experienced from the perspective of a SEAL unit caught under fire. At first glance, it might appear to be just another war movie, but it distinguishes itself through the absence of dramatic music and predictable story arcs. There are no clear heroes or villains, nor is there a structured narrative. Aside from an early note about the unit providing mission support, there’s little context about the characters’ roles or backgrounds. The filmmakers choose to follow these nearly-anonymous soldiers through their mundane stakeout routine, akin to being embedded with an actual military unit.
And then, chaos ensues. The sound design changes dramatically, screams pierce the air, and it’s evident that Garland and Mendoza are not interested in typical war narratives.
The film’s stark minimalism and intensity stem from the creators’ desire to authentically document Mendoza’s personal experience under fire in Ramadi. A Navy SEAL veteran and combat instructor-turned-producer and consultant, Mendoza collaborated with Garland after their work together on the battle scenes in Garland’s controversial 2024 movie Civil War. The two bonded over Mendoza’s experiences and the importance of portraying his and his comrades’ memories accurately on-screen.
Mendoza, a first-time director, and Garland, an Oscar-nominated writer-director known for works like Annihilation and Ex Machina, instilled their unique perspectives into Warfare. The project transcends the traditional documentary or narrative film, aiming instead to present a collective memory designed to help wounded soldiers like Elliott Miller (played by Cosmo Jarvis) process their experiences.
For audiences, Warfare serves as an invitation into the true emotional turmoil and feel of combat, challenging the usual portrayals encountered in cinema. Garland and Mendoza discussed their intentions with Polygon, shared where Garland’s horror expertise fits into the project, and explored their approach to subverting the “fantasy of war.”
When asked about the philosophical reasons for making a war film based on a veteran’s memory, Garland mentioned the value of conveying honesty about military service through cinema, especially considering the youth who choose to join the armed forces without a full understanding of combat.
Mendoza added that the film was a visual answer to questions asked by his comrade, Elliott, about his experiences. The essence was to visually communicate what words couldn’t convey.
The film seeks to challenge viewers, offering a stark reality that differs from the typical Hollywood treatment. As Garland explains, Warfare doesn’t follow the usual cinematic grammar and conventions. Instead, it aims to depict the soldiers’ reality without editorializing, keeping the narrative as genuine and unfiltered as possible.
Overall, Warfare is a raw, honest endeavor to capture the experience of combat as it truly is, making it distinct from other war films. Currently, Warfare is being shown in theaters.
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