The Damned

Roberto Minervini's The Damned is an astonishingly unique film at the intersection of historical narrative and existential interrogation. Set against the backdrop of the American Civil War of 1862, the film is not a typical war drama filled with heroic feats or grandiose battles. Instead, Roberto Minervini, a director with a strong documentary background, offers a deeply contemplative exploration of the human condition, focusing on the slow, inevitable decay of the spirit that war often brings. This is Roberto Minervini's first narrative feature, after years of making documentaries that blur the lines between reality and fiction, and he brings this sensibility to The Damned to profound effect.

The film tells the story of a group of Union volunteers sent to the far western territories of the United States, more precisely to what would later become Montana. These soldiers are far removed from the central theaters of the Civil War, placed in a harsh, unforgiving winter landscape where their mission is not to engage in major battles, but to patrol and protect uncharted lands. These men, some of whom are just boys, find themselves battling not only the elements, but also their own growing disillusionment. The sense of purpose that initially drove them to war begins to unravel, exposing them to the existential void that war often creates.

Roberto Minervini begins the film with a powerful metaphor: a scene of wolves tearing apart a deer. This brutal image sets the tone for the film, underscoring the inevitability of death and the primitive nature of war. As the story unfolds, it becomes clear that the soldiers, like the deer, are slowly consumed, not by immediate violence, but by the gradual realization that their convictions may be nothing more than illusions. The film's pace reflects this slow descent; at just under ninety minutes, the narrative seems deliberately stretched, reflecting the tedious and often monotonous nature of war. This is a war film in which most of the time is spent waiting - waiting for orders, waiting for the enemy and, ultimately, waiting for death.

Roberto Minervini's narrative approach is unconventional and deeply immersive. The film was shot without a traditional script, and the scenes were filmed in chronological order. This method gives The Damned an organic, almost documentary feel, which is reinforced by the fact that many of the actors are non-professionals who use their real names. This blend of reality and fiction creates a sense of authenticity that permeates the film. The interactions between the soldiers, whether setting up camp, chatting or having deep philosophical discussions, feel authentic, as if the viewer is listening to real conversations.

Carlos Alfonso Corral's photography plays a crucial role in establishing the film's atmosphere. Corral, who also composed the film's sparse but evocative score, uses natural light and shallow focus to create a visual landscape that is both beautiful and disorienting. The vast frozen expanses of Montana are captured with a painterly quality that evokes the work of filmmakers such as Terrence Malick, but Corral's images have a gritty edge that roots them in the harsh reality of the soldiers' experience. Combat scenes, though infrequent, are filmed with a quiet intensity that underscores the terror and futility of the soldiers' situation. In one memorable scene, Cuyler Ballenger's character, curled up in a fetal position on a hillside during a firefight, embodies the film's themes of vulnerability and helplessness in the face of war.

The film's strength lies in its ability to evoke broader existential questions through the experiences of these soldiers. Conversations around the campfire range from the mundane - discussions of pay, weather and food - to profound explorations of faith, purpose and the nature of war. One of the young soldiers, full of conviction, talks about fighting for God and country. However, an older soldier, played by René W. Solomon, gently warns him, hoping that his beliefs will remain simple in the face of the complexities of war. This dialogue, which at times seems intentionally thematic, is integral to the film's exploration of the human psyche in the midst of conflict.

Despite its historical setting, Les Damnés resonates strongly with contemporary themes. Roberto Minervini subtly draws parallels between the divisions of the Civil War and the fractures of modern American society. The film suggests that the struggles of the past are not as distant as we would like to believe, and that the same forces of division, faith and disillusionment continue to shape the national consciousness. The final scenes, in which the soldiers look up at the snowy sky, evoke a sense of timelessness, as if the war they are fighting will never really end. The image of two soldiers with beards sprinkled with snow, recalling a biblical reference - “If your sins are scarlet, they will become white as snow” - conveys the film's profound meditation on sin, redemption and the human condition.

Roberto Minervini's directorial choices, in particular his decision to shoot without a script and employ non-professional actors, contribute to the film's raw, unfiltered authenticity. The use of natural landscapes and the focus on the soldiers' mundane routines - such as setting up camp, playing baseball or simply trying to stay warm - underscore the boredom and aimlessness that define much of their experience. There are no great heroes in The Damned, nor any obvious villains, just men caught up in the inexorable march of history, struggling to make sense of their place in it.

Carlos Alfonso Corral's cinematography, combined with his haunting score, elevates the film's aesthetic to a truly remarkable level. The decision to shoot in the wilds of Montana adds a layer of authenticity and beauty to the film, but also a sense of desolation and isolation that reflects the inner turmoil of the soldiers. The battle scenes are treated with understated intensity, focusing not on the glory of combat but on the fear, confusion and chaos that accompany it.

The Damned is a film that challenges conventional war narratives. Roberto Minervini has crafted a haunting, meditative exploration of war, identity and the human spirit, using his documentary experience to bring a sense of realism and immediacy to a historical setting. The film demands patience from its audience, but those willing to engage with its slow rhythms and existential themes will find it a deeply rewarding experience. It's a quiet, remarkable film that leaves a lasting impression, not through grand declarations or epic battles, but through the intimate portrait of men struggling to survive in the face of overwhelming obstacles and their own inner demons.

The Damned
Written and directed by Roberto Minervini
Produced by Paolo Benzi, Denise Ping Lee, Roberto Minervini & Paolo Del Brocco
Starring Jeremiah Knupp, René W. Solomon, Cuyler Ballenger, Noah Carlson, Judah Carlson, Tim Carlson, Bill Gehring
Music: Carlos Alfonso Corral
Director of photography: Carlos Alfonso Corral
Editing: Marie-Hélène Dozo
Production companies: Okta Film, Pupa Film, Michigan Films, Rai Cinema, BeTV, Moonduckling Films
Distributed by Les Films du Losange (France)
Release date: NC
Running time: 89 minutes

Seen on September 12 2024 at the Deauville International Center

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