by Ed Travis
Agu lives with a loving family that might as well be yours or mine. His father was a teacher before the war began. His mother works hard to feed and manage the house for he and his older brother and younger siblings. His grandfather has lost his mental capacities but lives safely in the family home, cared for, much like Agu is, by the strength and foundation of a family unit. But war is all around them, threatening the borders of their safe zone, in an smartly unnamed African country. Because we all know Beasts Of No Nation is a “child soldier” movie, we know what must happen. Agu’s dark journey is almost an eventuality. But that doesn’t stop writer, director, and cinematographer Cary Joji Fukunaga (breaking out onto the world stage with his most accomplished work to date here) from masterfully endearing us to Agu and his family with remarkable economy. We are compelled to go with Agu on his journey because we see ourselves in him; we love him.
Newcomer Abraham Attah portrays Agu with a complexity and purity that calls to mind some of the greatest child performances. The film rests almost squarely on his shoulders. Yes, Idris Elba’s turn as the furious figure known only as Commandant is the buzzed-about role here, and Elba’s name sells this movie to a wider audience (while also being a truly award-worthy performance). But we see Commandant only through the ever watchful eyes of Agu. This device allows Commandant to sweep into the story in a larger than life way, offering Agu a new family unit, and a chance to get revenge against those who cut down his loved ones.
From here, the story moves out from the immediate, personal, and familial, widening to expose the machinations of war and politics and the effect they have on not just the children being swept up in its wake, but even on Commandant and his own belief in “the cause”. Agu will never cease to be our guide through this tale, but as he is overtaken by the conflict, so the narrative loosens, and plunges us into chaotic battle after traumatic pillaging after drug-fueled brainwashing celebration. (Drugs and ammunition are in much higher supply in Commandant’s battalion than food or water are). Commandant is a master manipulator, managing to be a deeply complex individual, while at the same time demonstrating traits of the purest and most grotesque evil. The narrative looseness is felt to a degree, with the middle portion of the film not having quite the gut wrenching impact of the first act. But it also seems highly intentional, and ultimately gives way to a clear and decisive third act which starts to offer a glimmer of hope for the future, even if nothing can ever change the horrific experiences that Agu both witnesses and perpetrates as a mentee of Commandant.
Beasts Of No Nation is unquestionably a war film. But by setting the film in the war torn jungles of an unnamed African country, Fukunaga is able to tell an under-told tale in an under-represented region of the world. We see the tropes of the war film play out, but with new eyes. The militia of boy soldiers look almost plucked out of a George Miller post apocalypse, with wild, cobbled together outfits. And Fukunaga’s cinematography offers an immediacy and an artfulness that elevates this material beyond the standard war film into gut-punch cinema that threatens to change the way you view the world while never beating you over the head with its themes and messages.
Look, no one reading this thinks the recruitment of child soldiers is a good thing. For the most part, we’re all going to be sympathetic to Agu’s plight because we all believe children should have the right to be raised in a loving family and given access to proper support structures that will allow them to grow into caring and functional adults. Fukunaga doesn’t need to work too hard to get us to take a firm stance against the use of child soldiers. But by endearing us so firmly to Agu, by pulling absolutely no punches and plunging us into the grey depths of war, by adding a dimensionality to Commandant that’s rarely allowed a filmic villain, Fukunaga is able to tell an even more universal tale. “War is hell” is the ultimate cliche when it comes to these types of stories, but Fukunaga subtly moves past that well worn sentiment and calls the audience to a potentially more powerful conclusion: “War is wrong”.
We in the West believe we have a certain amount of control over our lives, but Agu’s story shatters that notion and reminds us that we’re all part of an interconnected system that could threaten our support structures at any time. There’s not much we can do to stem the tide of change. But surely it is war that ravaged Agu’s family, that addled Commandant’s mind, and that tears away our humanity; so in turn, surely we should strive to move past war as an acceptable state of being.
Beasts Of No Nation is a masterful film; assured, confident, artful. The performances, the screenplay, the cinematography, the small touches from sound design, to minimalist score, to costuming… all these details come together powerfully to engross and engage the viewer. But perhaps more powerfully, without preaching or melodrama, Beasts Of No Nation makes you want to stand up against war and get serious about making what little difference you can make as an individual to put an end to the most soul-stealing blight in all of human history. It is the rare war film indeed that has the power to take you to that place.
And I’m Out.
Beasts Of No Nation is a Netflix Original Film, meaning it will be available to all Netflix streaming subscribers beginning on October 16th.
As it will be a major awards contender, it will also play theatrically in limited release beginning on the same day. I strongly recommend seeking out a big screen viewing experience if possible, but if not, consider setting aside the time to watch this film in one sitting, free from distraction, and allow yourself to be taken on Agu’s harrowing journey.
