Civil War 4K 2024 2160p WEB-DL

The action takes place in the not-too-distant future: the United States is on the verge of collapse, and journalists are rushing to tell the biggest story of their lives - the end of America as we know it.

Civil War 4K Review
The near future. There is a civil war in the USA - 19 states have seceded from the country. A group of journalists led by Lee (Kirsten Dunst) travels from New York to Washington, D.C., hoping to get one last interview with the president (Nick Offerman) before he is overthrown.

After the sobering, telling and very funny horror “Rod Male” British Alex Garland devoted all of himself to a much larger and more relevant project. “Civil War” is a ruthless, poignant movie about a sick time and people of the era, intent on being the last to go down in history. The characters in this movie are photojournalists documenting habitual brutality and pervasive anti-humanity. They don't think about post-traumatic stress disorder and always find themselves in the epicenter of what is happening. They have almost no feeling.

Inspired by Francis Ford Coppola's Apocalypse Now, Garland frees his movie from explicit anti-war statements, but in a striking, apolitical way anticipates and overtakes the real agenda. It is more important for him, as for the protagonists, to have time to adjust the lens, to point it at the burning body of the demonstrator, the country or the world at large. The director, along with the audience, moves blindly through the nightmarish labyrinths of a tangible future - as murky as possible. As the separatist army of the “Western Force” moves ever closer to Washington, New York journalists, including Lee, Joel (Wagner Moura) and veteran newspaper man Sammy (Stephen McKinley Henderson), decide to drop everything and embark on a 1,300-kilometer journey - all the way to the White House. On the trip is student Jessie (Kayleigh Spaney), who is just starting out as a war correspondent and shoots exclusively on film instead of digital.

The disclaimer before the movie warns for good reason: people with mental (the list should be expanded) disorders are not recommended viewing. All two hours Garland and company will make you cover your faces from the unfolding horror, bite off cuticles, stay in a state of semi-asphyxiation. All for the sake of the best, most expressive shot: in one scene a village separatist will be asked to stand between two slowly dying prisoners, in another a bullet will riddle the body as accurately as possible. There are different reactions to war, and Garland is surgically precise in demonstrating all facets of society's crisis state. The demented military, led by Jesse Plemons in red glasses, litter the moat with corpses and clamor for purity. Voluntarily ignorant clothing store clerks lazily flip through a catalog (“We just try not to think about it”). This is America, sang Childish Gambino. It's all of us now, Garland objects.

Not since “Melancholia” has Dunst given out a more tragic, delightful performance. Her heroine's name is Lee for a reason - a direct coincidence with Lee Miller, the first photographer to visit the concentration camp Dachau. The heroine's fatigue, the atrophy of her emotions reminds of itself closer to the finale, on the threshold of the White House, with the manifestation of panic attacks. Lee is an example of inspiration for Jesse - we also watch the girl's transformation in real time. After Sofia Copolla's direct opposite Priscilla, Spany is rapidly adding to her resume and becoming one of the top actresses of the generation (we'll see with the upcoming Alien spin-off). Moura has long deserved the career of fellow “Narco” series colleague Pedro Pascal: he delivers a deafening, ruthless performance for himself and the audience.

The localizers originally tried to call the film Civil War, but A24 did not allow such liberties. The movie does have a much larger scope, spreads like a virus or a fateful omen, but is primarily about people without regard to nation. Garland, who frightened everyone with his retirement from directing, sees no point in lamenting over the decaying remains of humanity, so he vividly demonstrates this unpleasant rotting process. His almost documentary approach is almost devoid of sentimentality, but at the same time allows us to find hope. If we are “fortunate” to live in a period of increasingly disintegrating external and internal empires, Garland's answer and advice is to go and look, record, memorize, and pass on.