Film Review: Civil War – a must see for photojournalists

If you attempt to recall any standout films that feature photojournalism or photographers, you might struggle to come up with more than a handful of truly memorable, well-crafted examples. A few that readily come to mind include Salvador, Blow-Up, Kodachrome, and perhaps Nightcrawler, even though the latter is about videographers.

Currently playing in cinemas is Alex Garland's Civil War, and I want to place this on the must-see list for any photojournalist or documentary photographers that are looking to get a glimpse of the intense terror experienced in ‘combat photography’.

The film demonstrates the risks photographers are willing to take to bring us the ‘truth’ or as Lee, the main character of the film says, “We record so that other people ask”.

But bringing us the truth (and perhaps a meagre wage) isn’t the only thing driving all photojournalists. The film at times alludes to how frontline photojournalism appeals to adrenaline junkies who will risk their lives (and at times others) to get that story or that ‘shot of a lifetime’.

The terrible trade-off to this risk-reward cycle is of course post-traumatic stress disorder (PTSD) that effects almost every non-psychopathic person who witnesses the sheer horror of frontline violence and atrocities.

The US tearing itself apart (no plot spoilers)

Set in the very near future, a Trump-like President has crowned himself an illegal third-term (currently US Presidents can only preside for two terms or a total of eight years). The rest of the film’s politics are quite vague, but essentially a civil war ensues pitching the Western Forces comprising of California and Texas against the rest of the country (or pockets of it).

The film follows a posse of four journalists on their bizarre and at times, surreal road trip odyssey from New York to Washington DC to interview and photograph the President – who is currently besieged in the White House. With the President's downfall appearing inevitable, it becomes a race against the clock to capture the story and perhaps obtain some Pulitzer Prize winning photographs of a lifetime.

The team comprises of renowned Reuters photojournalist Lee Smith played by Kirsten Dunst (a nod to Lee Miller) who also suffers from PTSD; Joel (Wagner Moura) a combat savvy, light hearted journalist also working for Reuters; Jessie Cullen (Cailee Spaeny) a young aspiring and slightly naive photojournalist who idolises Lee; and Sammy (Stephen McKinley Henderson) a wise, but semi-jaded, about-to-retire elderly reporter who works for the New York Times.

Shoot first – question later
Lee shoots in colour with an unbranded Sony A7RV (with at times a Leica lens), while Jessie shoots black and white film on her father’s classic Nikon FE2 and develops her photos in the field.

Interestingly, in order for Kirsten Dunst to become familiar with the cameras in real life, she lugged a camera kit around for days so that cinema-goers could witness the almost innate familiarity that photographers have with their tools of the trade.

At times, Civil War is reminiscent of the war film odyssey Apocalypse Now in that the characters, like the viewer, never know what bizarre or brutal scenario is just around the corner.

And when the action does hit, it hits like a punch. The surround-sound effects are incredibly realistic (guns go pop - not boom) and in fact, this is the first film I recommend wearing earplugs for the deafening shootout sequences.

The action sequences are brilliantly choreographed, with 'still images' from the two photographers’ perspectives punctuating the ongoing action for brief seconds – long enough for the viewer to think ‘wow that is a great shot’. We can thank cinematographer Rob Hardy for assembling these cinematic moments that are built around these (what would be) great shots. But these ‘great shots’ are actually disturbing indictments of how humankind just can’t seem to get along together.

Every year we see these great shots at the World Press Photo exhibitions that tour the world. They are always hard going visually, but nothing in comparison to what the actual people in the photos are going through. Are these photos enough to sway popular opinion? Do they actually bring change? Or should they be regarded by the cynical title as ‘war porn / poverty porn’?

So can War Photography bring meaningful social change?
Unfortunately, some studies have concluded that when people are shown war photography, it doesn't necessarily evoke any behavioural change (i.e. donation intention, behaviour or general willingness to act against war). So it seems, no matter how many images or footage we are shown, even though we may regard the images as unforgettable or even iconic images, it may be irrelevant to bringing meaningful social change.

But I would argue this point – there have been images that have swayed public opinion such as the execution of a Viet-Cong Captain Nguyễn Văn Lém by a South Vietnamese Brigadier General. This photo is well regarded as an image that changed the US public’s perception of the Vietnam War and led to the US Forces withdrawal from that region.

Even recent footage from the ongoing Ukraine-Russia and Israel-Palestine conflicts have caused worldwide protests on city streets and motivated people and countries to spend time and resources to help in various ways. 

Does this film make you want to become a combat photographer?
Frontline journalism is a risky business. According to Reporters Without Borders 1,668 journalists have been killed in the past 20 years (2003-2022), with an average of 80 per year. Even though photojournalists wear ballistic vests and are marked as PRESS, frontlines are chaotic where anything can happen – including the actual targeting of journalists in the hope to 'delete' any evidence of war crimes.

And if this dystopian action film is anything to go by, you can really see how photojournalists have to put themselves in harm’s way to get great shots. You can't just shoot from a distance using an 800mm lens and hope for the best. As the character John Cassady says in the film Salvador 'You gotta get close to get the truth. You get too close, you die.'

So while being a combat photographer may be a complete adrenaline rush – it's not great for your longevity.

Should you see this film?
Good films about photographers are far and few between, so in this case, Civil War is a must see for any photographer who has contemplated what it would be like to shoot in a combat zone. And this is where the film excels with its immersive, visceral set pieces.

As for the rest of the film, cinematically it is a gorgeous looking film that goes from the macro to huge battle scenes; the soundtrack moves from emotionally tortured soundscapes to jarring, unrelated comedic pop songs; the sound effects are incredibly enveloping; and the acting is completely convincing showing the draining mental journey of the characters through their various brushes with death and destruction.  

Like the politics in this film, I want to remain vague so that you see this film with little forewarning of what's going to happen. And currently, with Trump running for President again – will we see reality imitating art and vice versa in the near future? Time will tell.

Other films about photographers

• Minamata (2020). Netflix
• The Secret Life of Walter Mitty (2013). Disney+
• We’ll Take Manhattan (2012). Amazon Prime
• The Bang Bang Club (2010). Apple TV, Google Play
• The Midnight Meat Train (2008). Netflix
• Fur – An Imaginary Portrait of Diane Arbus (2006). Apple TV, Amazon Prime
• One Hour Photo (2002). Disney+
• Harrison’s Flowers (2000). Apple TV, Google Play
• Pecker (1998). Apple TV, Amazon Prime
• Proof (1991). Apple TV
• Double Exposure: The story of Margaret Bourke-White (1989)