is not the film you think it is. The trailers. The initial, enigmatic descriptions. The title. It all infers an analysis of America as a divided nation, one where the risk of a second great conflagration seems all too imminent.
But writer/director Alex Garland is not interested in red states versus blue states, as shown by the fact that the rebellion is being led by the unified forces of Texas and California. Whatever it is that the president has done, it’s so egregious, so horrifying, that even traditional antagonists are bound together in a new race to Berlin. That’s the term bandied around by journalists in a New York hotel. But it could not be New York. It could be Saigon in ’75, Jakarta in ’65, Belgrade in ’91.
Garland’s selection of these disunited states has nothing to do with our current political divide. If anything, picking such unlikely bedfellows as the Lone Star and Golden states as insurrectionists is a clear warning to audiences not to get caught up in extraneous details. It’s merely a familiar context, to add immediacy to a global experience.
Garland’s masterful and shocking script is counterbalanced with his quiet, mannered direction. This may be his most restrained and introspective work since his razor-edged and gossamer-delicate script for 2010’s, but that’s not sitting at odds with the material. Instead, it’s in tension with it, revealing the convoluted motivations that draw war zone journalists into the fray, and the damage that life inflicts. This may be the closest we’ll ever get to a film version of’ reporter Anthony Loyd.
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