A journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House.A journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House.A journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House.
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Storyline
Did you know
- TriviaIn an interview with The New York Times, director Alex Garland revealed that the "Christmas Wonderland" decorations in the sniper scene were not designed for the movie. Someone had built it as an attraction and decided to leave it up after the attraction was a financial failure. Alex decided to incorporate it into the movie to symbolize the chaos in the country. "If you haven't put away the Christmas decorations, clearly something isn't right."
- GoofsThe front license plate falls off when they are run off the road by the military vehicle. Later scenes show the license plate back on.
Featured review
Disturbing, brilliant and essential
America is getting sick. Alex Garland has offered us a vaccintion for what ails us. Like a serum for snake bite made of venom itself, this film grabs us by the shoulders and screams "You got a civil war fantasy? Fine, I'll put it on a 40 foot screen and dare you to cheer."
Civil War finds it's foundational vision in the eyes of those who for decades have brought us the soul shattering reality of war, free from the romance of Hollywood patriotism- war journalists whose frenzied, conflicted oddysey plunges them into a mad gauntlet of fire and film, killing and kodachrome. Like soldiers in a war of attrition, they must constantly reassess the purpose of thier risks and sacrifices as they watch their colleagues fall for the sake of the priceless pictoral story of war. Three generations of war correspondants traveling together into the insanity becomes the testiment to three phases in the life of such a calling.
We are introduced to the strangeness of how soldiers, out for blood, tolerate and facilitate the prescence of these unarmored observers every step of the way through the hell of combat. Garland seems to tap into some unspoken ethos of universal creedance among combatants that the history of it all must be seen and those who record it must survive to tell of it. It is never explained, merely displayed.
We are reminded that in a modern Americn civil war, rogue atrocity can roll through your city just as easy as it did for My Lai. If you think that in the fog of war we would maintain our civility and morality like gentlemen, think again. For every five patriots there might be one psychopath ready to fill ditches with the innocent dead executed under the jurisprudence of a few unhinged men with guns.
We have no idea why this war is being fought. Perhaps it is a just war. Perhaps it is a crazed cessationist rebellion. We aren't afforded such information. It would only get in the way of the vital message-war is hell and be careful when you tell your fellow American to go to hell for thier political differences. What you end up with might be far darker and damning than you ever dreamed.
The genius of this film rests partially in an absurd alliance between California and Texas, two of the most opposite states in the Union. By joining this ideological odd couple, the story immunizes itself against accusations of partisanship or cultural favortism. Yet it also beckons us to imagine what kind of national crisis could bring such opposites together.
This film will be awarded there is no doubt. Alex Garland has broken new ground and his script and actors and cinemetography deserve all the awards they get.
Civil War finds it's foundational vision in the eyes of those who for decades have brought us the soul shattering reality of war, free from the romance of Hollywood patriotism- war journalists whose frenzied, conflicted oddysey plunges them into a mad gauntlet of fire and film, killing and kodachrome. Like soldiers in a war of attrition, they must constantly reassess the purpose of thier risks and sacrifices as they watch their colleagues fall for the sake of the priceless pictoral story of war. Three generations of war correspondants traveling together into the insanity becomes the testiment to three phases in the life of such a calling.
We are introduced to the strangeness of how soldiers, out for blood, tolerate and facilitate the prescence of these unarmored observers every step of the way through the hell of combat. Garland seems to tap into some unspoken ethos of universal creedance among combatants that the history of it all must be seen and those who record it must survive to tell of it. It is never explained, merely displayed.
We are reminded that in a modern Americn civil war, rogue atrocity can roll through your city just as easy as it did for My Lai. If you think that in the fog of war we would maintain our civility and morality like gentlemen, think again. For every five patriots there might be one psychopath ready to fill ditches with the innocent dead executed under the jurisprudence of a few unhinged men with guns.
We have no idea why this war is being fought. Perhaps it is a just war. Perhaps it is a crazed cessationist rebellion. We aren't afforded such information. It would only get in the way of the vital message-war is hell and be careful when you tell your fellow American to go to hell for thier political differences. What you end up with might be far darker and damning than you ever dreamed.
The genius of this film rests partially in an absurd alliance between California and Texas, two of the most opposite states in the Union. By joining this ideological odd couple, the story immunizes itself against accusations of partisanship or cultural favortism. Yet it also beckons us to imagine what kind of national crisis could bring such opposites together.
This film will be awarded there is no doubt. Alex Garland has broken new ground and his script and actors and cinemetography deserve all the awards they get.
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- mark-deckard-1967
- Apr 13, 2024
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Details
- Release date
- Countries of origin
- Official site
- Language
- Also known as
- Ngày Tàn Của Đế Quốc
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $50,000,000 (estimated)
- Gross US & Canada
- $58,455,916
- Opening weekend US & Canada
- $25,537,368
- Apr 14, 2024
- Gross worldwide
- $92,134,310
- Runtime1 hour 49 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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