Ben and Rob head to the frontlines with Alex Garland’s Civil War (2024), the film that he intended to be his last in the directors chair. Starring Kirsten Dunst, Wagner Moura, Cailee Spaeny, and Nick Offerman, Civil War isn’t your typical dystopian epic. Instead, Alex Garland delivers a chilling, ground-level road movie where journalists race through a divided America to document its collapse. But why did Alex Garland decide Civil War would be his final film? And why is journalism such a personal subject for this movie?

The lads also dive into the film’s technical side, unpacking how Alex Garland uses chromatic aberration to distort reality and amplify tension without the audience even realising. Is it a visual gimmick, or a metaphor for truth being refracted and fragmented?

Finally, they ask the big question: what does Civil War actually mean? Is Garland predicting the fall of democracy, mourning it, or just trying to warn us while he still can?

One thing’s certain: with Civil War, Alex Garland didn’t just make one of A24’s most successful films, he made a film that may still predict the future.

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Ben and Rob bite into Raw (2016), the feature debut of writer-director Julia Ducournau. This French body horror classic follows Justine, a lifelong vegetarian who develops a craving for human flesh during her first year at veterinary school. With visceral imagery, unflinching performances, and gallons of fake blood, Raw made Ducournau one of the most talked-about voices in horror cinema—and proved that cannibalism could be art.

Is Raw a feminist metaphor, a coming-of-age allegory, or just a very stylish nightmare about hunger and identity? Are the scenes involving animals simulated, or is this another European horror with behind the scenes crimes to admit? And is ‘Raw’ all the feminist of a film after all?

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Ben and Rob summon ‘Men’ (2022), written and directed by visionary director Alex Garland. This surreal, unsettling folk horror stars Jessie Buckley as a grieving woman plagued by a series of near-identical men—all played by Rory Kinnear—in a remote English village. As Alex Garland leaves behind the structured sci-fi of Ex Machina and Annihilation, ‘Men’ marks a bold turn into dream logic, emotional horror, and symbolic storytelling.

But what is Men really saying? What do the Green Man and Christ imagery mean in the context of British folk horror? Why do all the men have the same face—and why does the film’s final monster feel more tragic than terrifying? And most importantly: what kind of twisted genius makes this movie?

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