Warfare 4K 2025 Ultra HD 2160p

Story Movie

Ramadi, Iraq, November 19, 2006. At night, a group of American Navy SEALs takes up a firing position in one of the residential buildings to cover the advance of the marines. However, during the day, the unit comes under attack from local militants.

Review 4K Movie

Alex Garland's new film is not really an Alex Garland film in the usual sense. There is no science fiction, alternative reality, sci-fi romance, or anything else. It is a film about war, and it focuses on one specific operation in Iraq. I took a long time to gather my thoughts because there is really something to say, but neither yesterday nor the day before did my impressions come together into words. It's difficult to recommend this project: the film is intense, and it's intense in a good way, but you have to be prepared to sit in your seat for an hour and a half straight.

This is a powerful anti-war statement — the film Warfare, based not on a book or documentary evidence, but on the memories of real participants in real events. Ray Mendoza, the film's main director, was in Iraq in 2006 and experienced what ordinary young men go through during a military operation that went wrong from the very beginning. This is his first directorial project, but he has been advising filmmakers on the filming of combat scenes for many years. Warfare is a coming out of the shadows, a frank and brutal statement.

Here are the guys in uniform. Navy SEALs. Young, cheerful. Their whole lives ahead of them. They go into operation, covering each other according to a carefully calculated and rehearsed plan. They monitor and report on the situation, everything is worked out to the millisecond... But something goes wrong — and no commander, even the most steadfast, can make the right decision to rectify the situation.

It's terrifyingly loud and unbearably close. And unbearably emotional. And deafeningly tense. The cinematography, editing, and sound mixing are a technical feat in themselves, which in the patriotic American films of the 2000s was compensated for by active combat, special effects, explosions, and blood. You know, there is almost nothing here that we are used to seeing in war films.

However, the demand for intimacy and candor has emerged relatively recently. And modern independent directors are in no hurry to shoot such stories: frequency seems to affect the depth of perception.

I would like to say that this is a striking example of modern war cinema, but it is too early to talk about a trend. It is better to watch it, be shocked for a while, and remain silent for a day before embarking on analysis and discussion. That is exactly how it should be when you leave a screening of Warfare.

A bonus for A24 fans: the film company has clearly moved to a new level, and it was none other than Alex Garland who took it there.