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NEW ALBUM OUT NOW

Jessie Ware - That! Feels Good!

Jessie Ware - Begin Again

Jessie Ware - Pearls

Jessie Ware - Free Yourself

Jessie Ware - What's Your Pleasure

Jessie Ware - Hot N Heavy

Jessie Ware - Please

Jessie Ware - Ooh La La

Jessie Ware - Mirage (Don’t Stop)

Adore You by Jessie Ware

Overtime by Jessie Ware

Glasshouse (Deluxe Edition) by Jessie Ware

Egoísta by Jessie Ware

Alone by Jessie Ware

Selfish Love by Jessie Ware

Midnight by Jessie Ware

Tough Love by Jessie Ware

Jessie Ware - Champagne Kisses

Jessie Ware - You & I (Forever)

Jessie Ware - Say You Love Me

Jessie Ware - Tough Love

Devotion - The Gold Edition by Jessie Ware

Jessie Ware - Imagine It Was Us

Jessie Ware - Sweet Talk

Jessie Ware - Night Light

Jessie Ware - Wildest Moments

Jessie Ware - If You're Never Gonna Move

Jessie Ware - Running

Jessie Ware - Strangest Feeling

Jessie ware – begin again, jessie ware – pearls (official music video), jessie ware – free yourself (official music video), jessie ware – please (official video), jessie ware – save a kiss, jessie ware – ooh la la (lyric video), jessie ware – spotlight, jessie ware – alone (official music video), jessie ware – selfish love (official music video), jessie ware – midnight (official video), jessie ware – champagne kisses (official video), jessie ware – you & i (forever), jessie ware – say you love me (official video), jessie ware – tough love (official music video), jessie ware – sweet talk, jessie ware – wildest moments, jessie ware – if you’re never gonna move, jessie ware – running.

Pre-order any format of That! Feels Good! from jessieware.com to get access to the U.K. tour presale this Wednesday.

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The run kicks off October 5 in Chicago.

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This fall, UK pop star Jessie Ware crosses the pond for a North American headlining tour. She’ll be bringing her sensual, euphoric disco to several venues, including Chicago’s The Vic (October 5), Los Angeles’ Hollywood Palladium (October 10), New York City’s Terminal 5 (October 19), and more. Tickets go on sale to the public this Friday, April 28, at 10 am local time.

“I have never been more ready to tour an album!” said Jessie. “Touring my last album was the biggest thrill for me…the dancing, the choreography, I loved it all. The That! Feels Good! tour will be a continuation of that…but even bigger, even better, and even more dancing and a whole lot more of YOU!! Tickets go on sale this Friday, with pre-sales earlier in the week. Buy a ticket, it will feel good.”

The tour announcement arrives just days before the Mercury Prize and 6-time BRIT-nominated singer/songwriter returns with her phenomenal new album, That! Feels Good! on April 28. The wait has been long but worth it, stretching back to last year’s Glastonbury festival, where she debuted commanding lead single “Free Yourself.”

No Doubt, The Ink Spots, And Amy Winehouse: Currently Trending Songs

Since then, Ware has upped the anticipation with subsequent singles “Pearls”—a belter inspired by divas like Donna Summer, Evelyn “Champagne” King, Teena Marie, and Chaka Khan—and “Begin Again,” which was one of the first songs written for the album.

That! Feels Good! is the follow-up to Ware’s fourth studio album, 2020’s What’s Your Pleasure? Entering the UK Album Charts at No.3, What’s Your Pleasure? is her most successful record to date. Among a Best New Music designation from Pitchfork , the album also landed on best-of-year lists on The Guardian , Rolling Stone , Billboard , and more. Last year, Ware completed a fantastic run of live shows including career-defining sets at Glastonbury and Primavera Sound.

Visit Jessie Ware’s official website for more information.

Jessie Ware That! Feels Good! Tour Dates: October 5 – Chicago – The Vic October 10 – Los Angeles – Hollywood Palladium October 11 – San Francisco – Regency Ballroom October 16 – Washington, DC – 9:30 Club October 19 – Philadelphia – Union Transfer October 20 – New York – Terminal 5 October 23 – Toronto – Rebel Entertainment Complex November 10 – Manchester – Victoria Warehouse November 13 – Glasgow – Barrowlands November 17 – London – Alexandra Palace

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Jessie Ware announces 2023 fall North American tour

English pop artist Jessie Ware will make their return to North America this fall.

Announced yesterday, the singer will kick off their trek on October 5 inside The Vic in Chicago, and it’ll feature performances in Los Angeles, San Francisco, Washington D.C., Philadelphia, NYC, and Toronto.

Ware said this about their upcoming trek:

“I have never been more ready to tour an album! Touring my last album was the biggest thrill for me…the dancing, the choreography, I loved it all. The That! Feels Good! tour will be a continuation of that…but even bigger, even better, and even more dancing and a whole lot more of YOU!! Tickets go on sale this Friday, with pre-sales earlier in the week. Buy a ticket, it will feel good.”

Tour dates can be seen below. Tickets will go on sale to the general public this Friday (April 28) at 10 a.m. local time here .

Ware will be supporting their forthcoming studio album That! Feels Good! , which arrives on April 28 via Interscope Records. Pre-orders for the album can be made here .

Jessie Ware tour dates

October 5 - Chicago - The Vic

October 10 - Los Angeles - Hollywood Palladium

October 11 - San Francisco - Regency Ballroom

October 16 - Washington, DC - 9:30 Club

October 19 - Philadelphia - Union Transfer

October 20 - New York - Terminal 5

October 23 - Toronto - Rebel Entertainment Complex

November 10 – Manchester - Victoria Warehouse

November 13 – Glasgow - Barrowlands

November 17 – London - Alexandra Palace

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Jessie Ware announces fall 2023 tour

The london disco-pop diva will play a string of stateside shows in october before returning to the u.k. for three homecoming sets..

With her fifth studio album That! Feels Good! due out this Friday (April 28), London disco-pop star Jesse Ware has announced a fall 2023 tour, starting with seven North American October sets and finishing with three November shows back in the U.K.

“I have never been more ready to tour an album!,” she writes in a press release. “Touring my last album was the biggest thrill for me… the dancing, the choreography, I loved it all. The ‘That! Feels Good!’ tour will be a continuation of that… but even bigger, even better, and even more dancing and a whole lot more of YOU!! Tickets go on sale this Friday, with pre-sales earlier in the week. Buy a ticket, it will feel good.”

Read Next: Jessie Ware shares “Freak Me Now” featuring Róisín Murphy

Public sales for the tour begin Friday at 10 a.m. local time. View all of Jesse Ware’s upcoming dates below.

Jesse Ware fall 2022 tour

October 5 - Chicago, IL - The Vic October 10 - Los Angeles, CA - Hollywood Palladium October 11 - San Francisco, CA - Regency Ballroom October 16 - Washington, DC - 9:30 Club October 19 - Philadelphia, PA - Union Transfer October 20 - New York, NY - Terminal 5 October 23 - Toronto, ON - Rebel Entertainment Complex

November 10 - Manchester, UK - Victoria Warehouse November 13 - Glasgow, UK-SCT - Barrowlands November 17 - London, UK - Alexandra Palace

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Jessie Ware confirms That Feels Good! album details, shares “Pearls”

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• October 15, 2022 Setlist

Jessie Ware Setlist at United Center, Chicago, IL, USA

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• Spotlight Play Video
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• Remember Where You Are Play Video
• What's Your Pleasure? Play Video
• Save a Kiss Play Video

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10 activities (last edit by event_monkey , 8 Oct 2023, 16:24 Etc/UTC )

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• Remember Where You Are
• Save a Kiss
• Soul Control
• What's Your Pleasure?
• Free Yourself

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• Jessie Ware This Setlist Start time: 8:00 PM 8:00 PM
• Harry Styles Start time: 9:00 PM 9:00 PM

Jessie Ware Gig Timeline

• Oct 13 2022 United Center Chicago, IL, USA Add time Add time
• Oct 14 2022 United Center Chicago, IL, USA Add time Add time
• Oct 15 2022 United Center This Setlist Chicago, IL, USA Start time: 8:00 PM 8:00 PM
• Oct 15 2022 Berlin Nightclub Chicago, IL, USA Start time: 12:15 AM 12:15 AM
• Oct 17 2022 The Belasco Los Angeles, CA, USA Add time Add time
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Jessie Ware Announces Fall 2023 Tour Dates

Cait Stoddard

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Jessie Ware Announces North American Tour

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Harry Styles dazzles in high-energy, sequin-filled Chicago residency opening

Clad in a shimmering tracksuit, the british pop star delivered a dazzling hit parade — working every inch of the stage to give thousands of screaming fans an unforgettable night..

Harry Styles performs for a sold-out crowd at the United Center during the opening night of his six-date residency on Saturday, Oct. 8, 2022.

Matt Moore/Sun-Times

British pop star Harry Styles brought his high-energy “Love on Tour” to a sold-out United Center Saturday night, posing, kicking and shimmying to near-constant screams.

Clad in a shimmering, sequined, red and grayish-blue striped tracksuit — unzipped to reveal a tucked-in, scoop-neck undershirt — the 28-year-old delivered a dazzling hit parade — working every inch of the stage to give thousands of screaming fans an unforgettable night.

The performance marked the first of Styles’ six-night residency at the United Center and follows similar extended stays in New York City (15 dates) and Austin, Texas (6 dates), during the last couple of months.

Styles’ opening night was initially scheduled for Thursday, but was postponed until Monday “out of an abundance of caution” due to “band/crew illness,” the UC said. The news came as a shock to the dozens of fans camped outside the venue — some since Wednesday — hoping to score a coveted general admission “pit” wristband.

It all made for a palpable sense of anticipation among the more than 23,000-strong crowd on Saturday, who filled every imaginable space in the United Center and dressed in their best Styles-esque fits. Common accents included fringe shirts, sequined dresses, cowboy hats, pastels, flared pants and of course feathered boas, which were so ubiquitous that trails of loose feathers charted the path from the lengthy general admission and will-call lines and into the UC. It was a spectacular aesthetic one might describe as part drag night at the “Twin Peaks” honkytonk, part Studio 54 day during spirit week at “Euphoria” high — campy, flashy and fun.

A trail of feathers is left behind from the boas of Harry Styles’ spectacularly attired fans Saturday night at the United Center.

The throwback themes were further compounded by opener Jessie Ware, whose disco- and house-tinged set warmed up the crowd as people swayed, posed for photos and TikToks and returned from impossibly long lines clutching food and/or Styles merch. Ware also got in on the glitzy motif, wearing a silver shirt that sparkled when she danced and belted out her stunning voice to the rafters.

During the countdown until Styles took the stage, a playlist that included Styles’ former boyband One Direction’s “Best Song Ever,” Beyoncé’s “Love on Top” and Queen’s “Bohemian Rhapsody” built up the crowd’s excitement even more.

Styles’ band took the stage in matching white jumpsuits to a tranquil cover of Bill Evans’ “Peace Piece,” by ambient artist Green-House, which poured out from the arena speakers and eventually gave way to the voice of philosopher Alan Watts describing loneliness as a hallucination. It worked as a preview of what appeared to be Styles’ intentions to make the night — and tour at large — a celebration of togetherness.

By the time Styles emerged from a hole cut out centerstage, absolute pandemonium broke out, with practically glass-shattering screams consuming the opening bars of “Daydreaming,” a driving, up-tempo bop from his third album, “Harry’s House.” The artist burst across the perimeters of the surprisingly compact stage looking like a sexy candy cane with a thousand-watt smile, holding his arms up and waving to greet the sea of dedicated fans overpowering the music with their wails. The screaming only subsided when what seemed like every single voice in the place joined Styles in singing every single lyric.

Thus began a reliable pattern throughout the night: passionate, full-throated singalongs, punctuated by sound-barrier-breaking screams in response to Styles’ every move. The mood was electric, as the fans stayed on their feet and never took their eyes off their idol. And he seemingly never took his eyes off them.

Styles and his six-piece band jammed through a tight, hour-and-a-half set composed mainly of songs from “Harry’s House,” a record that saw the artist concentrate the 1970s stadium-rock nostalgia of his previous solo efforts into a more intimate, indie and city pop-leaning lane. It’s an album primarily written and recorded amid the initial waves of the pandemic that invites listeners in to share a range of emotions and offers glimpses of his interior life. The album title works as a nod to Haruomi Hosono’s 1973 classic “Hosono House,” a record defined by its distinct, intimate sound largely due to it being recorded in the pioneering artist’s home. Styles has cited the album as an influence .

Harry Styles performs before a sold-out crowd at the United Center to kick off his six-date Chicago residency, Saturday, Oct. 8, 2022.

Following “Daydreaming,” Styles grabbed a hollowbody guitar and counted off his band to start “Golden,” from his 2019 sophomore album, “Fine Line.” Styles crooned lines like, “I know that you’re scared because I’m so open,” in the lower end of his range. This meant he was inevitably drowned out by fans screaming/singing at the top of their lungs an octave above him.

Styles then handed off his Gibson and grabbed the mic for “Adore You,” another “Fine Line” standout. He twirled, jumped and skipped across the two catwalks bookending either side of the stage, blowing kisses and giving a thumbs up to the crowd.

“Our job this evening is to entertain you — I promise we’ll do our absolute best,” Styles said with a grin, giving fans permission to feel free to be whoever and “whatever it is you’ve always wanted to be.”

“I challenge you to have as much fun as I’m gonna have.”

As he settled into the first half of his set, Styles’ true talent as a performer was on full display, namely in his knack for commanding the crowd while alternating between playing guitar and frontmanning. It was also impressive to see the ways he would preserve his voice, which initially sounded hoarse in some moments. Styles opted to let the crowd hit some of the big notes, altered the melodies slightly in other instances and performed a string of down-tempo “Harry’s House” songs that still showcased his voice, but kept him from belting.

“For those who are not from Chicago, we’ll have a little trivia for you later in the show,” Styles quipped. “Did you know the Twinkie was invented in Chicago? That’s a fact.”

“Harry’s House” ballads like “Little Freak” and “Matilda” were other clear first-half highlights, with the latter evoking teary-eyed, passionate singalongs to lines like, “You don’t have to be sorry for leaving and growing up,” as guitarist Mitch Rowland played harmonics that rang beautifully through the arena. Both songs, although tender, personal points on “Harry’s House,” somehow felt even more intimate performed live before thousands singing along. It’s a credit to Styles’ ability to make fans in both the pit and in the nosebleeds feel like they’re part of a collective, unique experience.

Harry Styles performs "Matilda" during the opening night of his United Center residency on Saturday. pic.twitter.com/5zGOl4LC3b — Matt Moore (@MattKenMoore) October 9, 2022

Styles later spouted off some more local trivia about deep dish pizza, the “L” and how Chicago gave the US its first skyscraper. He also attempted to mention that Chicago was home to Gwendolyn Brooks, the first African American to win a Pulitzer, but forgot her name. He eventually remembered moments after leading the crowd in singing “Happy Birthday” to an audience member.

“That’s why the Windy City is not the second city, it is the first in my eyes!” Styles exclaimed cheekily.

Styles and Co. were soon joined by a horn quartet and gleefully burst into “Cinema” to mark the second half of the show. Although the energy had not waned, the addition of the quartet brought the excitement to an even higher level and rounded out the band to create live interpretations that sounded even better than his recordings. It also appeared that whatever Styles may have been reserving vocally, he was laying it all out for the duration of the set.

Dressed in matching blue jumpsuits, the horn quartet moved into a raucous interlude that interpolated the beginning bars of the Village People’s “YMCA” with the intro to “Harry’s House” single “Music for a Sushi Restaurant.” While the studio version can read as a bit generic — like music for an Old Navy commercial — it was a barn burner of a moment live. Styles moved to the beat with Mick Jagger-like swagger as the horns sailed over bassist Elin Sandberg’s funk-infused lines and drummer Sarah Jones’ driving rhythms, keeping the whole crowd dancing.

Perhaps the best moment of the night was when Styles broke into “Treat People With Kindness,” a joyful song with a Sly and the Family Stone ethos that serves as Styles’ mantra. Fans jumped and sang along to the lines, “Maybe we can find a place to feel good and we can treat people with kindness.” Sandberg, Jones and multi-instrumentalist Ny Oh led the chorus with near-perfect pitch while Styles sprinted across the stage and danced cheerily with auxiliary percussionist Pauli Lovejoy, whose bongos added a tasteful texture throughout the set.

Harry Styles performs "Treat People With Kindness" during the opening of his Chicago residency, Saturday night at the United Center. pic.twitter.com/JiQhzK0m7g — Matt Moore (@MattKenMoore) October 9, 2022

Styles also paid homage to his One Direction roots — and the fans who helped make him the global superstar he is today — by performing the boyband’s 2011 single “What Makes You Beautiful.” Interpreted by his live band, the song had a more rock and power-pop feel to it, and brought the crowd to an even higher level of energy, despite having danced and jumped and screamed for over an hour at this point in the set.

Another high point was “Late Night Talking,” which was preceded by a fantastic, jazz-infused intro led by pianist Yaffra. The track gave way to 2019’s “Watermelon Sugar,” which was also a perfect exhibition of how airtight and solid Styles and his band were together — touting strong harmonies, just about flawless instrumentation and infectious enthusiasm.

For the encore, Styles kicked into his 2017 armageddon anthem “Sign of the Times,” from his self-titled debut, a song that felt made for the high emotions of a sold-out arena and showed off his vocal prowess, as did the bubbly “As It Was” that soon followed.

The night was unfortunately capped with 2017’s “Kiwi,” a bland, hard rock cosplay that is beloved by his devout fans. The ravenous screams from the crowd and the intensity of his band pushing distorted chaos made for a mystifying end to an otherwise great set.

Harry Styles performs Saturday on the first United Center stop during his “Love on Tour.”

Lloyd Wakefield

For a sold-out arena tour starring one of the world’s most famous people, Styles’ setup was decidedly unremarkable. No elaborate set designs, no costume changes, no choreography, no cameos, no compelling visuals. It was just Styles, his bandmates and thousands of adoring fans, a barebones arrangement that felt like another callback to an earlier era — when artists like Aretha Franklin or Fleetwood Mac would command an audience with just music and magnetic stage presence.

And while he hasn’t reached the level of those greats just yet, it was really refreshing to watch Styles — despite achieving massive success and having a loyal fan base — work so hard to get there. Those efforts have resulted in him putting out his best work and giving his strongest performances to date, and he’s still pushing himself further.

Styles’ sole focus Saturday appeared to be his relationship with his audience. They were there for Styles, and as the lights went up and he stepped onto the catwalk to wave, bow and blow kisses to a crowd dressed like him, fans who gave just as much energy as he did during the performance, it was clear he was there for them.

“Things like this don’t happen to people like me very often,” he said. “Thank you so much for changing my life over and over again.”

Styles was set to hit the United Center again Sunday and Monday, before returning Oct. 13-15 for the remainder of his residency.

English Teacher, Jessie Ware and Slowdive join Øya Festival 2024

Øya Festival has announced a new wave of artists for 2024, including the likes of English Teacher , Jessie Ware and Slowdive .

With headliners PJ Harvey, Pulp, Queens of the Stone Age and Gabrielle already confirmed, Øya now reveals that its Thursday night headliner will be Janelle Monáe. The news is accompanied by a fresh wave of new additions to the line-up, including Jessie Ware, Slowdive, Brutus, Jorja Smith, English Teacher, and Angélica Garcia.

Fem fantastiske til #øya2024 pic.twitter.com/b7YkIlN0Bh — Øyafestivalen (@oyafestival) April 18, 2024

Øya Festival will return to Oslo's Tøyenparken from 7-10 August. Visit oyafestivalen.no for tickets and more information.

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Jamie xx and Honey Dijon Share New Song “Baddy on the Floor”: Listen

By Nina Corcoran

Hot on the heels of his Coachella set, Jamie xx has shared a new song that he played at the festival. “ Baddy on the Floor ” features Honey Dijon and was created by the two DJs over video calls during the pandemic . Check it out below.

Jamie xx has slowly been trickling out new songs over the years, with this latest single joining “ It’s So Good ,” from earlier this year, as well as 2022’s “ Let’s Do It Again ” and “ Kill Dem ,” and 2020’s “ Idontknow .” As it turns out, the producer and DJ is gearing up to release his long-awaited sophomore album, the follow-up to In Colour . During an interview on BBC Radio 1’s Future Artists with Jack Saunders while premiering “Baddy on the Floor,” Jamie xx revealed that he’s putting the finishing touches on his new LP and promised that it will come out later this year.

This summer, Jamie xx will return to Chicago to headline Pitchfork Music Festival 2024 on Saturday, July 20. Also slated on this year’s lineup are Alanis Morissette, Black Pumas, Carly Rae Jepsen, Jessie Ware, Jai Paul, Brittany Howard, De La Soul, Unwound, 100 Gecs, and more. Tickets are currently on sale .

Revisit Pitchfork’s interview “ Jamie xx: Taking Shelter in Loud Places ” and see where In Colour landed on “ The 200 Best Albums of the 2010s .”

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‘Civil War’ | Anatomy of a Scene

The writer and director alex garland narrates a sequence from his film..

“My name is Alex Garland and I’m the writer director of ‘Civil War’. So this particular clip is roughly around the halfway point of the movie and it’s these four journalists and they’re trying to get, in a very circuitous route, from New York to DC, and encountering various obstacles on the way. And this is one of those obstacles. What they find themselves stuck in is a battle between two snipers. And they are close to one of the snipers and the other sniper is somewhere unseen, but presumably in a large house that sits over a field and a hill. It’s a surrealist exchange and it’s surrounded by some very surrealist imagery, which is they’re, in broad daylight in broad sunshine, there’s no indication that we’re anywhere near winter in the filming. In fact, you can kind of tell it’s summer. But they’re surrounded by Christmas decorations. And in some ways, the Christmas decorations speak of a country, which is in disrepair, however silly it sounds. If you haven’t put away your Christmas decorations, clearly something isn’t going right.” “What’s going on?” “Someone in that house, they’re stuck. We’re stuck.” “And there’s a bit of imagery. It felt like it hit the right note. But the interesting thing about that imagery was that it was not production designed. We didn’t create it. We actually literally found it. We were driving along and we saw all of these Christmas decorations, basically exactly as they are in the film. They were about 100 yards away, just piled up by the side of the road. And it turned out, it was a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival, and he’d gone bankrupt. And he had decided just to leave everything just strewn around on a farmer’s field, who was then absolutely furious. So in a way, there’s a loose parallel, which is the same implication that exists within the film exists within real life.” “You don’t understand a word I say. Yo. What’s over there in that house?” “Someone shooting.” “It’s to do with the fact that when things get extreme, the reasons why things got extreme no longer become relevant and the knife edge of the problem is all that really remains relevant. So it doesn’t actually matter, as it were, in this context, what side they’re fighting for or what the other person’s fighting for. It’s just reduced to a survival.”

By Manohla Dargis

A blunt, gut-twisting work of speculative fiction, “Civil War” opens with the United States at war with itself — literally, not just rhetorically. In Washington, D.C., the president is holed up in the White House; in a spookily depopulated New York, desperate people wait for water rations. It’s the near-future, and rooftop snipers, suicide bombers and wild-eyed randos are in the fight while an opposition faction with a two-star flag called the Western Forces, comprising Texas and California — as I said, this is speculative fiction — is leading the charge against what remains of the federal government. If you’re feeling triggered, you aren’t alone.

It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right. It’s one thing when a movie taps into childish fears with monsters under the bed; you’re eager to see what happens because you know how it will end (until the sequel). Adult fears are another matter.

In “Civil War,” the British filmmaker Alex Garland explores the unbearable if not the unthinkable, something he likes to do. A pop cultural savant, he made a splashy zeitgeist-ready debut with his 1996 best seller “The Beach,” a novel about a paradise that proves deadly, an evergreen metaphor for life and the basis for a silly film . That things in the world are not what they seem, and are often far worse, is a theme that Garland has continued pursuing in other dark fantasies, first as a screenwriter (“ 28 Days Later ”), and then as a writer-director (“ Ex Machina ”). His résumé is populated with zombies, clones and aliens, though reliably it is his outwardly ordinary characters you need to keep a closer watch on.

By the time “Civil War” opens, the fight has been raging for an undisclosed period yet long enough to have hollowed out cities and people’s faces alike. It’s unclear as to why the war started or who fired the first shot. Garland does scatter some hints; in one ugly scene, a militia type played by a jolting, scarily effective Jesse Plemons asks captives “what kind of American” they are. Yet whatever divisions preceded the conflict are left to your imagination, at least partly because Garland assumes you’ve been paying attention to recent events. Instead, he presents an outwardly and largely post-ideological landscape in which debates over policies, politics and American exceptionalism have been rendered moot by war.

‘Civil War’ Is Designed to Disturb You

One thing that remains familiar amid these ruins is the movie’s old-fashioned faith in journalism. Dunst, who’s sensational, plays Lee, a war photographer who works for Reuters alongside her friend, a reporter, Joel (the charismatic Wagner Moura). They’re in New York when you meet them, milling through a crowd anxiously waiting for water rations next to a protected tanker. It’s a fraught scene; the restless crowd is edging into mob panic, and Lee, camera in hand, is on high alert. As Garland’s own camera and Joel skitter about, Lee carves a path through the chaos, as if she knows exactly where she needs to be — and then a bomb goes off. By the time it does, an aspiring photojournalist, Jessie (Cailee Spaeny), is also in the mix.

The streamlined, insistently intimate story takes shape once Lee, Joel, Jessie and a veteran reporter, Sammy (Stephen McKinley Henderson), pile into a van and head to Washington. Joel and Lee are hoping to interview the president (Nick Offerman), and Sammy and Jessie are riding along largely so that Garland can make the trip more interesting. Sammy serves as a stabilizing force (Henderson fills the van with humanizing warmth), while Jessie plays the eager upstart Lee takes under her resentful wing. It’s a tidily balanced sampling that the actors, with Garland’s banter and via some cozy downtime, turn into flesh-and-blood personalities, people whose vulnerability feeds the escalating tension with each mile.

As the miles and hours pass, Garland adds diversions and hurdles, including a pair of playful colleagues, Tony and Bohai (Nelson Lee and Evan Lai), and some spooky dudes guarding a gas station. Garland shrewdly exploits the tense emptiness of the land, turning strangers into potential threats and pretty country roads into ominously ambiguous byways. Smartly, he also recurrently focuses on Lee’s face, a heartbreakingly hard mask that Dunst lets slip brilliantly. As the journey continues, Garland further sketches in the bigger picture — the dollar is near-worthless, the F.B.I. is gone — but for the most part, he focuses on his travelers and the engulfing violence, the smoke and the tracer fire that they often don’t notice until they do.

Despite some much-needed lulls (for you, for the narrative rhythm), “Civil War” is unremittingly brutal or at least it feels that way. Many contemporary thrillers are far more overtly gruesome than this one, partly because violence is one way unimaginative directors can put a distinctive spin on otherwise interchangeable material: Cue the artful fountains of arterial spray. Part of what makes the carnage here feel incessant and palpably realistic is that Garland, whose visual approach is generally unfussy, doesn’t embellish the violence, turning it into an ornament of his virtuosity. Instead, the violence is direct, at times shockingly casual and unsettling, so much so that its unpleasantness almost comes as a surprise.

If the violence feels more intense than in a typical genre shoot ’em up, it’s also because, I think, with “Civil War,” Garland has made the movie that’s long been workshopped in American political discourse and in mass culture, and which entered wider circulation on Jan. 6. The raw power of Garland’s vision unquestionably owes much to the vivid scenes that beamed across the world that day when rioters, some wearing T-shirts emblazoned with “ MAGA civil war ,” swarmed the Capitol. Even so, watching this movie, I also flashed on other times in which Americans have relitigated the Civil War directly and not, on the screen and in the streets.

Movies have played a role in that relitigation for more than a century, at times grotesquely. Two of the most famous films in history — D.W. Griffith’s 1915 racist epic “The Birth of a Nation” (which became a Ku Klux Klan recruitment tool) and the romantic 1939 melodrama “Gone With the Wind” — are monuments to white supremacy and the myth of the Southern Lost Cause. Both were critical and popular hits. In the decades since, filmmakers have returned to the Civil War era to tell other stories in films like “Glory,” “Lincoln” and “Django Unchained” that in addressing the American past inevitably engage with its present.

There are no lofty or reassuring speeches in “Civil War,” and the movie doesn’t speak to the better angels of our nature the way so many films try to. Hollywood’s longstanding, deeply American imperative for happy endings maintains an iron grip on movies, even in ostensibly independent productions. There’s no such possibility for that in “Civil War.” The very premise of Garland’s movie means that — no matter what happens when or if Lee and the rest reach Washington — a happy ending is impossible, which makes this very tough going. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.

Civil War Rated R for war violence and mass death. Running time: 1 hour 49 minutes. In theaters.

An earlier version of this review misidentified an organization in the Civil War in the movie. It is the Western Forces, not the Western Front.

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Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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