Shadows on the Wall

Warfare

Review by Rich Cline | MUST SEE

dir-scr Ray Mendoza, Alex Garland
prd Andrew Macdonald, Allon Reich, Matthew Penry-Davey, Peter Rice
with D'Pharaoh Woon-A-Tai, Will Poulter, Cosmo Jarvis, Kit Connor, Charles Melton, Joseph Quinn, Finn Bennett, Taylor John Smith, Michael Gandolfini, Adain Bradley, Noah Centineo, Evan Holtsman
release US 11.Apr.25,
UK 18.Apr.25
25/UK A24 1h35

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Almost overpoweringly immersive, this Iraq War thriller plays out in real time with sharply naturalistic performances and an expertly brain-rattling soundscape. Because it's based on first-hand reports of an actual event, with all characters based on real people, the attention to detail is remarkable, as is the way it recounts the story without editorialising. That said, the film works on additional layers that add an intense thematic wallop.

In November 2006, a group of Navy Seals led by Erik (Poulter) is patrolling a Ramadi neighbourhood, selecting a house from which to observe locals going about their business. They herd the residents into a bedroom and watch closely as young insurgents gather outside with intent. When a grenade is thrown into their hideout, radioman Ray (Woon-A-Tai) arranges transport for injured sniper Elliott (Jarvis). But an explosion outside causes even more injuries, forcing these now shellshocked soldiers to scramble for options. Eventually, help arrives from a team of frogmen on foot, led by Jake (Melton).

Opening with the group raucously watching a music video together, there are moments of camaraderie throughout the film, from comical exchanges to astonishing acts of compassion and heroism. None of this is overplayed; it simply emerges as the chaos unfolds through stretches of urgent action, focussed work and quiet regrouping. So the way the film captures these soldiers' daily reality is both inventive and original. It's also so engulfing that we can vividly feel each man's yearning to get out of this house.

Performances have a documentary feel, balancing machismo with more complex emotional openness. The standout in this sense is Connor, whose gunner Tommy is understandably rattled by repetitive brain trauma, to the point where he admits he has no idea what's going on, and yet he continues to perform with impressive bravery and efficiency. Everyone in the cast has surprising moments, with notably harrowing work by Jarvis and Quinn, lovely internalised turns for Woon-A-Tai and Poulter, and a storming performance from Melton.

This is a film we experience rather than watch, so it is likely to stick with viewers for a long time. What we take away will depend on how deeply we dive into the film's larger metaphors, as the plot can be read as a depiction of America's involvement in military campaigns over many decades: going in to observe, drawing a violent reaction to their presence, then leaving carnage behind when they exit. This in no way diminishes the valiant, skilful work of the real men depicted on-screen, even as it offers a refreshingly nuanced bigger picture.

themes, language, violence 1.Apr.25

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