War can be recreated, but not explained.

"This film is based on the memories of American soldiers." The opening warning Warfare: Time of War clarifies two key points of the proposal. On the one hand, that it is part of the cinematic tradition that attempts to capture the true horror of war. On the other, that its perspective is inevitably partial; something that could be limiting but that reveals itself as an interesting discursive strategy. To support the first point, Alex Garland He shares the direction with former soldier Ray Mendoza, military advisor in Civil War, who now stages one of his experiences during the Iraq War.

The situation is presented to us in its raw form: there is no orthodox dramatic construction in the portrait of a group of soldiers watching the enemy inside a house in the city of Ramadi. That tedium and minimal verbal exchanges are enough to fuel an underlying tension is thanks to Garland's pulse, who once violence breaks out relies above all on sound design to convey to the audience the hallucinatory nightmare experienced by the characters. The immersive intention could be perverse, but by denying us access to the protagonists' connections and emotions, Garland and Mendoza ensure that we do not lose sight of our status as distant spectators of a story that expels the other's point of view when that of the adversaries... ssa, leaving a surreal silence of rubble, dust and exploded bodies, they can only exclaim "because?"