Iraq and a Hard Place

Warfare (Alex Garland, Ray Mendoza, 2025)

Hollywood typically embellishes historical events in film. Co-writers and co-directors Alex Garland and Ray Mendoza's Warfare (2025) is an authentic depiction of a military operation gone wrong, as recollected by the platoon of ex-Navy SEALs who were involved; including Mendoza. The end product is a supremely visceral visual and audio experience leaving you grateful of its ninety-five minute run time, as it's a watch that's obviously intended to be endured rather than inappropriately enjoyed.

Our platoon of Navy SEALs is introduced to us during their down time. Huddled around a small video screen, these young men of culture are boisterously appreciating Eric Prydz's masterpiece of a music video Call on Me (the zenith of intellectual artistry from the 2000s, in my humble opinion). A bizarre introduction perhaps, but an ingenious one, as the camaraderie they have for one other is blatantly evident during this scene. No names, no individual character introductions; they are unified with their appreciation for aerobics.

There's not much time spent on the raucous celebrations at the start of the film as Warfare immediately cuts to our soldiers, split into two separate teams, silently traversing through the streets of Ramadi, under the cover of darkness. Erik (Will Pouter) is the commanding officer of the team, appropriating a residential home occupied by two families as a makeshift base. It's one of an overabundance of tense scenes in the film which feel so tangible. The Iraqi translators aiding the SEALs attempt to calm the frightened civilians, and seem almost as uncomfortable and scared in this scenario as the unwitting families.

The waiting game is essentially the first act. Elliott (Cosmo Jarvis) is the team's sniper. Lying upon multiple mattresses, scoping a distant target location via his long ranged sniper rifle, there is this palpable sense of violence at any second throughout this ordeal. The rest of the SEALs are equally uneasy. It's a scenario laden with intense atmosphere and high anxiety. The common phrase, "the anticipation of Death is worse than Death itself" rings true in this scenario. That is, until our Navy SEALs' position is finally compromised and Warfare goes onto another level.

"I wanted to bring out this heightened sense. Even when there’s nothing happening, you know something is about to happen, so you’re on the defence. You can hear your hand scratching your hair or a pen on paper, so although it’s quiet, it’s loud."—Ray Mendoza

Patience is replaced with urgency. A grenade is thrown into the makeshift sniper's nest. Gunfire in multiple directions. The Navy SEALs are surrounded and need urgent support. This comes in the form of an M2 Bradley vehicle headed to their location. With the film shot in relative real time, the ten minute wait for extraction is absolutely excruciating. Every minute that goes by, feels like a lifetime. Without delving any further into the film and spoiling it, events go from bad to worse. 

Sound design plays a massive part in the film. The muffled and distorted sounds of footsteps after a detonated IED blast is complimented with a critically injured individual left winded by the blast wave, struggling to breathe. In its aftermath, the accompanying dusty haze enshrouding everything looks spectacularly other-wordly.

The performances are top notch, and more importantly, it's blessed with a fresh-faced cast of promising stars that lend to the verisimilitude of Warfare; no overly familiar Hollywood actor hamming it up and breaking all immersion. D'Pharaoh Woon-A-Tai as the young incarnation of Ray Mendoza, is a major highlight. The young actor provides a stoic performance and his courageous valour and determination to save his fallen friend, makes him a noble and admirable character.

Despite moderately enjoying Garland's previous work, the dystopian Civil War (2024), which came across as both alarmist and nonsensical much of the time, Warfare is a massive step up.This a far more skilful and sincere film, chronically one specific event as recollected by those who were there, and the intensity of military warfare with shocking intensity. A deeply powerful film that lingers on long after the credits.