Alex Garland calls this “disturbing” and “incredibly visceral” film wwii a favorite of all time

As a writer and director, Alex GarlandThe films do not reflect the best of humanity or do not transmit any optimism on the future. This cynical line of thought has made him one of the notable filmmakers, although divisors, of the last decade – a genre storyteller with his finger on the pulse of America (despite the originality of Great Britain) and the quickly suspicious and dark perspectives of the country on the world. In films like Ex machina,, Civil warAnd WarGarland combines his innate chops as a gender filmmaker with his ruminations which give sober on technology and violence as the fundamentals of human existence collapse.

To tell the truth, Garland never needed to clarify that Come seeThe 1985 Russian haunt war drama by Elem Klimov,, was a formative text in his filmography, because the proof radiates the screen. Come see is cited as perhaps the example of a real “anti-war” film, because it leaves an unshakable impact on the spectator who makes you never consider war as noble.

Alex Garland named ‘Come and see’ as one of his five favorite films

Forward for MenGarland’s 2022 Folk Horror-Thriller, the writer-director shared his five favorite films with Rotten Tomatoes. The collection of films, including Parasite And The lighthouseThe much more recent breakdowns than most expected, and little could have predicted that he would find a place for the beloved Hayao Miyazaki movie, Fiery. With Nicolas RoegDrama Ozploitation, RideThe list was completed by Come seeA film that has its fair share of similarities with Garland Civil war And War.

“He plays a really complicated game between the absolute net edge of reality and the strangeness of inner surrealism and brings together both, I think perfectly”, “ Garland said of Come seeThe punitive but rewarding film on a boy from the Soviet village, Flyora (Alexei Kravchenko), which falls on a rifle in the ground and finally finds itself to join the Russian resistance against the occupying German forces. Of course, watching the film is a difficult task and not for the weakness of the heart. As Garland said, “you have to be ready for this, and You must be prepared for this, because it is more and more disturbing as a piece of cinema“As a deliberately rhythmic meditation on life and death, it requires your attention without the distraction of telephone notifications.

The great French director François Truffaut Famous postulated that there is no anti-war film, because medium glorifies innovates that everything it represents. Indeed, with professional equipment, craftsmen and technicians, most cinematographic combat scenes will seem exciting and invigorating. However, Come see Trust the theory of Truffaut, Elem Klimov dealing with war with all a circle of real hell without catharsis or primitive satisfaction. The precise environment of the film between grainy realism and surrealism creates a completely palpable nightmare, and the tragic arc of an innocent child developing the pain and trauma of an eternal war veteran follows the eternal punishment that the fight leaves on society and the individual.

‘Come see’ mixes grainy realism with abstract surrealism for a horrible representation of war

American films, such as documentary level cinematography and ground Save the private Ryan or the abstract and oblique representation of a country torn apart by the war in Apocalypse now Represent the filmmakers cementing the image of the public of the Second World War and Vietnam, respectively. In the meantime, Klimov’s camera is too exceeded to capture all the horror and fear of the forest battlefields and armies of wild soldiers aimed but kill and carry out orders. Rather than trying to treat the macro scope of war, Klimov pays particular attention to the small details, from the beaten and beaten Flyora face to the mud who pressed against the fighting boots of a soldier. In the midst of war, the world loses all order, but pieces of humanity remain, no matter how much we try to burn everything on the ground.

Come see is an appropriate complement to the two war films of Alex Garland and helps to underline his cinematographic intentions with his oblique portraits of violence and disorders. Civil war Was marked as an urgent and provocative film released during a presidential electoral year, but many were furious by Garland’s refusal to offer insight or an explicit commentary on the machinations behind the film’s full conflict.

However, Garland has shown that, in the heart of an endless cloud of chaos, Defining who is on what side and what each side is fighting for is a fuzzy concept. Consequently, he places us in the perspective of war journalists who have lost political aspirations beyond taking quality photography. On the other hand, War is confined in the districts of a peloton which does not express any emotional interiority, and is rather determined to carry out their mission with an unshakable balance.

The political backdrop of the Second World War Come see is all vague, and the only perceptible thing is the flawless terror of the fight. Elem Klimov and Alex Garland are deeply cynical about war like concepts, but Their films demonstrate a consciousness of humanity removed below the surfacewhich prevents them from being porn of misery. Come see is a must, but only when you are ready to feel unstable.