Beauty is in the eye of the beholder and so is evil! In Civil War, A24’s latest movie release, Lee, a wartime photographer, played phenomenally by Kirsten Dunst, struggles with the impact she has had in her lifetime of documenting extreme violence. Cailee Spaeny plays the role of Jessie, an innocent and eager doe eyed youth, who looks up to Lee and fenangles her way into Lee’s current mission. While Lee tries to discourage Jessie from this lifestyle, Lee’s partner Joel, played by Wagner Moura, encourages young Jessie, while reminding Lee that she was just as young when she started. Joel is thrilled and hungry for violence, wanting to get closer and see more at all times, but despite his eager attitude as the film goes on, no one, including him will be unaffected by the grim reality of what violence will do. 

Lee is challenged through Jessies character to wonder if her work has done what she thought in creating awareness that will lead to prevention, or if she has inadvertently helped glamorize the terror and enraged a new generation of adrenaline fueled youth like Jessie to go raging into battle. Writer and director Alex Garland brilliantly created this film as simultaneously a highly entertaining, action packed thriller and a thought provoking, introspective, look at the role of journalism that is sure to leave audiences pondering its themes for days to come.

Through the film‘s trailer, one would think that the audience would get a story on the war itself, what caused it and where things are headed, however the film focuses instead on the journalist covering the war. While some have critiqued the film for not diving into politics or taking a side, it was an unusual choice for Garland to diverge from common war narratives and instead focus on media and the moral responsibilities and dilemmas of the press. This debacle of ethical journalism is very relevant in modern times where so many Americans are debating about fake news and what outlets can be trusted. The audience has to wonder if being neutral is possible and what is the responsibility of the media. Perception makes it impossible for Lee to achieve her goals because no matter what side she may be on, the whole world will get to judge and interpret her work, ultimately drawing their own conclusion. It is a rare beauty for a film to pack so much duality into one, while remaining wildly entertaining. All of this makes Civil War a must see movie that resonates long after the credits roll.  

Adapted from Ann-Helen Laestadius’ book, Stolen makes for an intense and timely watch. Based on Sweden’s indigenous Sámi community, it narrates in long and painful detail their struggle for survival. Traditional reindeer herders for centuries, their minority community’s livelihood is at stake owing to climate change and the financial viability of the profession in the modern world. If that isn’t depressing enough (where your whole identity is under threat owing to circumstance), there’s also the matter of dealing with xenophobes and bigots who spread fear and hatred. Elle Márjá Eira’s fantastic film is relevant now more than ever, where indigenous communities the world over are being threatened for their mere existence, and their special/protected status being called into question. Stolen is a universal story that can be compared thematically to the fight for minority and indigenous rights on a planet that is tilting towards extreme majoritarianism with each passing day. Robert Isaksson (Martin Wallström), the narrative’s primary antagonist complains about why “they” (the Sámi community) should receive all the subsidies. “My family received nothing. We had to work hard to earn all that we have today.” He complains about not being able to use his snowmobile on their side of the land so as not to scare off the reindeer. He employs racial slurs like Lapp and Lappi while referring to the Sámi. The man even makes a ridiculous claim to the local police department about the community killing their own reindeer to concoct a conspiracy. It’s a story of intolerance as old as time, but one that is sadly familiar. Instead of attempting to understand the other for a way of life dissimilar to your own, you’re taught to be wary, to be afraid. The seed of distrust (that eventually leads to hatred) is often inculcated in the early years of childhood. 

Director – Elle Márjá Eira

Cast – Elin Kristina Oskal, Martin Wallström, Robert Lars-Ante Wasara, Magnus Kuhmunen, Risten-Alida Siri Skum, Pavva Pittja

Streaming On – Netflix

The young Elsa (a fine cameo courtesy Risten-Alida Siri Skum) learns these harsh truths at school. She is excluded because she is different. Her mind is set on becoming a reindeer herder, even as her father contemplates the future. Climate change threatens their survival, and he wonders if it’s worth all the trouble on his daughter’s behalf. Despite the mounting challenges, she is shown the ropes: how to wrangle the animal, mark the calf to differentiate it from the herd. She picks up a valuable lesson along the way: you don’t own the reindeer, you only take it on loan. When her beloved calf is killed in front of her eyes by a man in a snowmobile, her whole world changes. A now adult Elsa (Elin Kristina Oskal) continues to herd, with the reindeer killings that adversely  affect her community more common than ever. The police categorises the animals as “stolen” as the carcasses remain untraceable.