『Episode 91 - Warfare』のカバーアート

Episode 91 - Warfare

Episode 91 - Warfare

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 🎙️ Mindframes Podcast – Episode 91: Warfare 🎧 Hosts: Michael Cockerill & Dave Canfield 🎬 Film: Warfare (2025), dir. Alex Garland & Ray Mendoza 📍 Location: Music Box Theatre, Chicago ⏱️ Timestamps & Segment Summaries: [00:00–01:30] — Intro & Film Overview Michael introduces the film Warfare, co-directed by Alex Garland (Ex Machina, Civil War) and Ray Mendoza, a real-life Navy SEAL. Set during the Iraq War in 2006, the film follows a SEAL team as a surveillance mission devolves into a real-time battle for survival. [01:30–03:30] — Garland + Mendoza Collaboration The hosts highlight Garland’s visual language from Civil War and Mendoza’s military experience. Mendoza previously worked as a military advisor and makes his co-directorial debut, grounding the action in authenticity. [03:30–05:30] — A New Kind of War Film Dave and Michael compare Warfare to cinema verité. It strips away backstory, plot arcs, and even music, placing viewers in the immediacy of war. The film’s realism makes it emotionally immersive rather than glorifying. [05:30–10:00] — Comparing Garland’s Themes The hosts reflect on Garland’s previous works (Annihilation, Men, Ex Machina) and how Warfare departs from his usual metaphysical themes. While earlier films centered on confronting unknowns, Warfare is grounded and experiential. [10:00–16:00] — Tone, Politics & Empathy Dave emphasizes Warfare’s non-political stance — it doesn't "pick sides" but immerses viewers in the soldiers’ experience. The film resists traditional “hoorah” war tropes, favoring a depiction of camaraderie, trauma, and ambiguity. [16:00–22:00] — Acting & Realism Will Poulter is praised for his understated and believable performance. The cast’s lack of exposition or melodrama enhances the film’s immersive feel. The SEALs aren’t framed as superheroes — they’re human, fallible, and professional under extreme duress. [22:00–30:00] — Real-Time Pacing & Directorial Choices The podcast explores how real-time pacing increases tension. There’s no music, no time skips, no omniscient viewpoint — just boots-on-the-ground survival. The set was a reconstructed Iraqi neighborhood, shot with handheld cameras and long takes to increase claustrophobia. [30:00–40:00] — Cinematography as Philosophy The camera mimics a fellow soldier, crouching behind walls and moving with the characters. Michael and Dave liken this to the immersive style of 1917, though even more stripped down. Observational themes emerge as the camera shifts from viewer to viewed. [40:00–47:00] — Production Design & Immersive Worldbuilding Details like era-appropriate gear, drone tech, and consistent physical space reinforce realism. Everything down to military language is authentic, thanks to Mendoza. This reinforces the film’s goal: not storytelling, but situational transference. [47:00–56:00] — Why It’s Anti-War Without Saying So Michael and Dave argue that the film's realism is its anti-war statement. There's no need for speeches or political commentary — the relentless brutality and human cost speak volumes. Dave compares this to 1960s anti-war films like The War Game and Overlord. [56:00–01:01:00] — Final Thoughts & Timelessness The film ends with ambiguity — no grand victory, just survival and confusion. Michael praises the restraint: “They leave. That’s the ending.” Dave notes how demythologizing war through realism creates a deeper, more honest emotional impact. 💬 Highlight Quotes: “It’s not about choosing sides. You just happen to be with the Americans.” – Dave “The movie doesn’t tell you what war is. It makes you feel what it’s like.” – Michael “Once you strip away the mythology, all that’s left is shellshock and dust.” – Dave 🎖️ Ratings: Dave: ★★★★☆ — “One of the best anti-war films since the ‘70s.” Michael: ★★★★☆ — “Raw, claustrophobic, and unforgettable.” 📽️ Films Referenced: Civil War Annihilation Ex Machina Men 1917 Black Hawk Down Dunkirk Apocalypse Now The War Game Overlord 🧛 Next Episode Tease: 🎬 Sinners — Michael B. Jordan’s vampire-demon hybrid film might be next on the docket.

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