内战评论

Civil War is set to premiere in theaters on April 12, 2024, following a screening at the 2024 SXSW Film Festival.

电影《内战》将于2024年4月12日在影院上映，此前已在2024年SXSW电影节上进行了放映。

The film never explicitly reveals the cause of the eponymous civil war, which is both a strength and a weakness of writer-director Alex Garland’s work. The ambiguity allows viewers to fill in the gaps and interpret the conflict according to their own beliefs and theories. This lack of specificity also makes the story adaptable and comprehensible to audiences with varied knowledge of American politics. However, the downside is that upon deeper reflection, the plausibility of the conflict may diminish, especially when compared to the current political landscape. Nevertheless, the main plot of the movie focuses less on the intra-state conflict and more on a group of journalists embarking on a road trip to Washington D.C. in an attempt to interview the President. This journey serves as a documentation of the state of the union. This clever narrative choice distinguishes Civil War from other films.

电影未明确揭示内战的起因，这既是这部由编剧兼导演亚历克斯·加兰的作品的优点，也是其劣势。模棱两可的方式使观众有机会自行填补空白，并根据自己的信仰和理论来解释冲突。这种缺乏具体性也使得故事适应性强，观众可以根据自己对美国政治的了解程度理解故事。然而，缺点在于深度思考时，该冲突的可信度可能会降低，特别是与当前政治格局相比。尽管如此，电影的主要情节更侧重于内州冲突，而是关于一群记者踏上去华盛顿特区的公路旅行，试图采访总统，这一旅程也是对联邦现状的记录。这个巧妙的叙述选择让《内战》脱颖而出。

The protagonist, Lee, is a seasoned war correspondent who has witnessed countless human atrocities. Portrayed by Kirsten Dunst, the character exudes a demeanor of having seen it all, conveying her desensitization to violence and disillusionment with witnessing her own country succumb to conflicts akin to those she experienced abroad. Accompanying her is Joel, played by Wagner Moura, a daring journalist who revels in the face of danger and violence. Their dynamic provides much-needed levity to the otherwise poignant narrative. With Moura infusing his character with infectious enthusiasm and Dunst embodying solemnity, the duo’s interplay captivates the audience.

主人公李是一位经验丰富的战地记者，目睹了无数人类暴行。由克尔斯滕·邓斯特扮演的角色散发出一种见惯了一切的气质，传达了她对暴力的麻木和对自己的国家沦陷于与她在国外经历的冲突类似的斗争感到幻灭。她的同伴是由瓦格纳·莫拉饰演的乔尔，一个大胆的记者，喜欢面对危险和暴力。他们的互动为这个富有深情的叙事带来了急需的轻松氛围。莫拉散发着令人感染的热情，而邓斯特则深沉内敛，这对二人的相互作用深深吸引了观众。

Another member of the group is Sammy, portrayed by Stephen McKinley Henderson, an elder statesman who becomes a parental figure to the enthusiastic Jessie, played by Cailee Spaeny. Spaeny’s portrayal of Jessie exhibits extreme naivete, making her character compelling to watch despite the harrowing circumstances. Jessie idolizes Lee and aspires to join the cohort of war journalists, albeit without fully comprehending the gravity of her decision.

另一位成员是由斯蒂芬·麦金利·亨德森扮演的老年作家萨米，他成了热情洋溢的杰西的一位父母般的人物，杰西由凯莉·斯佩尼饰演。斯佩尼饰演的杰西表现出了极端的天真，使她的角色在令人痛苦的情况下仍然令人着迷。杰西崇拜李，渴望加入战地记者队伍，尽管她并没有完全理解自己决定的重要性。

The crux of Civil War lies in Alex Garland’s intention to create a tribute to the power of journalism. The film effectively portrays the dedication, impact, sacrifice, joy, and thrill of delivering important news, echoing Aaron Sorkin’s vision in The Newsroom. From the opening scene featuring Lee, Joel, and Sammy engaging in cheerful conversation about their work, despite having just witnessed a horrific incident, Civil War masterfully illustrates the toll that war journalism exacts and the coping mechanisms reporters employ to convey critical information, referred to as “a warning home” by Lee. This aspect serves as the core of Garland’s utilization of a civil war backdrop, shedding light on the mundanely gruesome and violent aspects of society that Americans tend to overlook due to the belief that “such things don’t happen here.”

《内战》的核心在于亚历克斯·加兰旨在为新闻业的力量创造一部致敬作品。电影成功地展示了传递重要新闻的奉献、影响、牺牲、快乐和刺激，呼应了艾伦·索尔金在《新闻编辑室》中的愿景。从李、乔尔和萨米在纽约酒店房间里进行愉快对话的开场场景开始，《内战》巧妙地描绘了战争新闻工作者付出的代价以及记者为传递关键信息所采用的应对机制，李称之为“向家的警告”。这一方面成为加兰利用内战背景的核心，揭示了美国人由于相信“这种事情不会发生在这里”，而忽视了社会中普通而可怕的暴力方面。

To convey this message, Civil War adopts a grounded and matter-of-fact approach to violence, depicting gruesome scenes of bodies being shot, set on fire, and blown up. The raw portrayal of violence enhances the film’s authenticity, and the use of sound is particularly noteworthy. Prolonged periods of silence heighten tension and underscore the characters’ desensitization to violence. When the silence gives way to the deafening sounds of gunfire, the effect is as terrifying and adrenaline-inducing as any horror movie, effectively using the war theme as a form of jump scare. Jesse Plemons’ character delivers a particularly intense performance, utilizing his trademark deadpan expression to create a chilling and suspenseful scene in Civil War.

为了表达这一信息，《内战》采用了接地气、实事求是的暴力表现手法，描绘了尸体被击中、被点燃和被炸毁的恐怖场景。对暴力的生动描绘提升了电影的真实性，而声音的运用尤为引人注目。漫长的寂静时段增加了紧张感，并突显了人物对暴力的麻木感。当寂静被震耳欲聋的枪声所打破时，效果就像任何恐怖电影中的惊吓一样可怕和令人兴奋，有效地利用了内战主题作为一种惊吓手段。杰西·普莱蒙斯的角色呈现了特别强烈的表演，利用其标志性的死板表情创造了《内战》中一个令人毛骨悚然和悬念丛生的场景。

The film’s showing in IMAX cinemas beautifully encapsulates its epic scope. As reportedly the most expensive film produced by A24, the grandeur of Civil War is truly reflected on screen. The vast scale, hundreds of extras, stunning war-torn landscapes, and monumental battles at the Lincoln Memorial give the movie a summer blockbuster feel. Notably, the film integrates photojournalism into its editing, seamlessly incorporating still images captured by the characters into the action sequences. This serves to illustrate the transformation of a story into a picture, emphasizing how a single image conveys a small part of a greater narrative.

《内战》在IMAX影院上映，完美地展现了其史诗般的规模。据称，《内战》是A24制作的成本最高的电影，其宏伟气势真切地展现在荧幕上。庞大的规模、数百名群众演员、令人惊艳的战争摧残景观以及林肯纪念堂上的壮观战斗赋予了电影夏季大片的感觉。值得注意的是，电影将摄影新闻融入到了剪辑中，无缝地将角色们拍摄的静态图像融入行动场景中。这旨在阐述一个故事如何被呈现为一张图片，强调了一张图像如何传达更大叙事的一部分。

Once again, the film’s lack of specific details regarding the political landscape works to its advantage, portraying a nation deeply embroiled in war to the point where the reasons for the conflict are all but forgotten. This is highlighted in a scene where two soldiers, trapped by a sniper, argue that they are present solely to kill each other, regardless of the underlying cause. Additionally, the film effectively illustrates the impact of the war on smaller communities, such as encountering a town completely oblivious to the conflict or witnessing a random militia engaging in indiscriminate killings. This approach almost simulates an expansive world-building similar to the Fallout game series through its visual storytelling.

再次强调，《内战》对政治格局缺乏具体细节的处理对其有利，展现了一个深陷战争的国家，以至于冲突的原因几乎被遗忘。这一点在一场围困于狙击手手中的两名士兵争论他们在此的唯一目的是相互杀死，而不管背后的原因。此外，电影有效地展现了战争对较小社区的影响，比如遇到一个完全不知情于冲突的小镇，或者目睹一个随机的民兵进行不加区分的杀戮。这种处理方式几乎使得其视觉叙事仿佛在扩展辐射游戏系列中的世界建设。

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