There’s something visceral and authentic about ‘Warfare,’ the film written and directed by Alex Garland and Ray Mendoza, Mendoza being one of the US Navy SEALs who had experienced first-hand the events that transpire in the movie. The film reenacts the conflict in Ramadi, Iraq in 2006 by two Navy SEAL platoons as they faced heavy fire from the locals who wanted them out of their land. On one hand, it is a battle of survival, showing the tactical strategies and the battle instincts of American soldiers in times of conflict and it is thrilling to see how a platoon managed to get out despite being surrounded by a whole city of hostiles. But as a non-American, the film ends up becoming a cautionary tale of the horrors of war and imperialism. It plays off as an anti-war film when you can see, without filters, the damage that wars cause both on human lives and ways of living.

The plot is simple: a platoon of Navy SEALs sneaks in under the cover of night into a two-story house in Ramadi. They take the families living there into one room and force them to cooperate as they use the house as a watchtower over the central plaza. The film remains quite obtuse about why they are there and what exactly they are doing.

Later on, they are discovered, and as the city begins to quiet down, locals start to arrive, surround them, and begin their attack on the soldiers. As two members are wounded and need to evacuate, they come across heavy fire and suffer heavier injuries and losses and urgently need to get to safety. 

The film’s script is based solely on the testimonies of the soldiers present in the house and with Mendoza as co-screenwriter and co-director, he was able to recreate the events as it was shared by everyone involved. The drama and tension of being caught in that moment are laid bare for all to see. The effects of shell-shock, seeing and hearing your companion scream in pain as his legs are torn to the bone, surrounded by the sounds of gunfire are devastating. It’s a compelling cinematic approach that brings us as close as possible to the heart of an armed conflict. It’s brutal, chaotic, and unforgiving. It would be thrilling if it weren’t based on real events.

What’s interesting about this depiction is how there’s so little context that’s in the film. It wasn’t until after the movie ended that I researched the conflict and discovered it depicted a rescue attempt in the wake of the Second Battle of Ramadi. Apparently, Ramadi was the capital of the insurgent forces of the Islamic State of Iraq during the American occupation. None of this context was made clear in the film and, so what I saw, as a non-American, was a bunch of American soldiers traipsing around in lands that were not their own (after all, it’s been argued that the American occupation of Iraq was motivated by faulty intelligence and questions about the legality of that war have been expressed) and causing chaos to everyone around them.

Mendoza and Garland take every opportunity to try and make each character recognizable – easily done by casting some very prominent young actors in these roles including Will Poulter, Kit Connor, Charles Melton, Joseph Quinn, Cosmo Jarvis, and D’Pharaoh Woon-a-Tai – giving them close-ups and calling them out by name. The directors humanize these people so that when the bullets start falling and people start to get hurt, we feel strong enough to care. It’s a complex emotion, for me, knowing that the filmmaking is making me empathize with these people, who in my understanding, are not where they are supposed to be and are bringing the danger to their own selves.

But that’s the thing about war: it’s fought by soldiers who are just following orders. Absent from the film are the people whose decisions it was that put this conflict into action in the first place. The ones who get hurt or die, whose houses are shot at by guns and tanks, they are the ones at the frontlines and dying but on whose say so?

This is how ‘Warfare’ becomes an anti-war movie for me because there’s a lingering shot at the end of the film, when the soldiers finally retreat and are evacuated and all we see are the empty streets of Ramadi with all the debris on the streets, the house from the house shot at by tanks, and the locals stepping out to assess the damage.

It’s the final shot of this film, which omits crucial context, poses a profound question: who was terrorizing whom?

My Rating:

Warfare is now showing in cinemas. Check showtimes and buy your tickets here.