In Alex Garland and Ray Mendoza’s brutal and immersive new film, memory informs the events that take place in real time to a unit of soldiers in Iraq
Warfare
, Alex Garland and Ray Mendoza’s assiduous new film on a single episode of the American war in Iraq, opens with a title card typical to a war picture: date, location, barebones summary – 11 November 2006, in Ramadi, Iraq. Navy SEAL team alpha one is supporting Marines in insurgents’ territory. And then one final, unusual detail in place of the standard “based on a true story” – “This film uses only their memories.” The “only” is an ominous indicator: this is a film working against the Hollywood tide to gloss, simplify or narrativize. Warfare, based primarily on Mendoza’s memories of that day as a former SEAL, as well as those of fellow soldiers and civilians present, is as much an experiment of translation as a cinematic achievement, a movie defined by both what it shows and what it does not.
Much of the press surrounding Warfare has focused on this exacting verisimilitude, its mission to create the “
most accurate war film possible
”. If something could not be double-checked by another account, it was not included. The intricate, fully immersive soundscape, designed by Glenn Fremantle, encompasses the vast volume spectrum of conflict – civilian chatter, a hand grazing a windowsill, burps of radio, destabilizing patters of gunfire and the sonic boom of a “show of force” military flyover that had nearly the same fetal-position effect on the theater audience as it did the characters. With the exception of a first scene observing the soldiers raucously dancing to the erotic music video for Eric Prydz’s Call On Me – underscoring just how young they are, how much pressure must be released – the movie proceeds in more or less real time. Ninety-ish minutes at a house the soldiers picked because one said “I like it”, at first tracking and then fighting nameless insurgents, with dialogue primarily in undiluted military jargon.
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