After the controversial Civil War (2024), director Alex Garland returns with Warfare, a gritty and intensely realistic war film co-directed by Ray Mendoza. Based on Mendoza’s own experience as a Navy SEAL during the Iraq War, the film places viewers directly into an operation during the Battle of Ramadi, with no clear mission or objectives. The movie features an ensemble cast, including D’Pharaoh Woon-A-Tai as Mendoza, Cosmo Jarvis as Elliot Miller, and Joseph Quinn, Will Poulter, and Michael Gandolfini, among others.
Unlike typical war films, Warfare takes an experimental approach. There is no structured plot or character development. The film’s narrative is built solely from the memories of the soldiers who were actually there, and everything shown on screen is based on their recollections. The result is a portrayal of war that feels more like a reenactment than a traditional Hollywood drama.
The film’s modest $20 million budget allowed the filmmakers to avoid unnecessary embellishments, focusing instead on authenticity. Unlike Civil War, which had a much larger budget of $50 million, Warfare maintains a stripped-down quality that enhances the overall realism. Garland’s focus on the rawness of the soldiers’ experience is evident, and the film delivers one of the most accurate depictions of combat ever captured on film.
One of the standout elements of Warfare is its exceptional sound design. Garland, who impressed audiences with his sound work in Civil War, has outdone himself here. The film recreates the chaos of battle—gunfire, explosions, and the disorienting effects of combat in tight spaces. A particularly harrowing scene, following a massive explosion, shifts between the perspectives of the soldiers, each with altered hearing, adding to the confusion and tension. This scene alone could earn an Oscar nomination for sound, and the high level of craftsmanship continues throughout the entire movie.
The film’s special effects, particularly the prosthetics used to depict injuries, are also noteworthy. Several soldiers suffer severe wounds during the battle, and the realism of these injuries is shocking. It’s one of the rare times a film’s depiction of violence has left me genuinely disturbed, underscoring the harsh realities of war. These moments are difficult to watch, but they elevate the film to a level of emotional impact rarely seen in war movies.
Warfare also raises questions about the ethics of portraying war and combat on screen. For Mendoza, this film is deeply personal, meant to memorialize the events he and his platoon went through. Garland’s motivations are less clear, but he seems to have supported Mendoza’s vision by bringing it to life in the most visceral way possible. The filmmakers have chosen to present the story without any embellishment or political commentary. There are no speeches or dramatic monologues; instead, the soldiers speak in basic military jargon, prioritizing realism over cinematic flair.
While the performances are mostly subdued, Charles Melton’s appearance partway through the film adds a much-needed spark of charisma to the group. The lack of character development is deliberate, reflecting the reality of war where personal stories often take a backseat to survival.
Ultimately, Warfare is a groundbreaking technical achievement. It provides one of the most authentic portrayals of combat ever filmed. While some may find its lack of narrative and political clarity challenging, the film’s purpose is clear: this is a story based on real events, experienced by real people. It’s a reminder of the sacrifices made and the realities of war, even if the message is not easily digestible.
Warfare is now playing exclusively in theaters, courtesy of A24.
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