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The climactic sequence in last year’s “Civil War,” a movie about an imagined military conflict in the United States, was unusual — and not only because it depicted insurgents storming the White House, breaching the Oval Office and assassinating the president.
It was also action shown in a way that films do not often depict. The gun-toting fighters communicate constantly about needing to reload. They awkwardly trade off shooting down hallways. Their rhythm is observably different than what moviegoers are used to.
The movie’s writer and director, Alex Garland, whose previous work includes “Ex Machina” and “Annihilation,” had given the scene’s reins to Ray Mendoza, a U.S. Navy veteran of the Iraq War turned Hollywood military consultant. Mendoza had used combat veterans as extras.
“When you saw veterans, in effect, directed by a veteran, something came out of it, which was something that I hadn’t really seen in cinema,” Garland said in a recent interview.
It gave Garland an idea. What if, he proposed to Mendoza late into the postproduction of “Civil War,” the two men made a film together, this one entirely depicting combat without typical cinematic trappings like compressed time, character study or traditional plot structure? What if the movie were just 90 minutes of war?
“Warfare” (in theaters), written and directed by Garland and Mendoza, is the realization of Garland’s ascetic thought experiment. It depicts a real incident that took place in November 2006 in the Iraqi city of Ramadi, a little west of Baghdad…
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