The Damned

The Damned

Roberto Minervini / 2024 / 89 min. / Italy, USA, Belgium, Canada

Winter 1862. In the midst of the Civil War, the US Army sends a company of volunteer soldiers to the western territories, with the task of patrolling the unchartered borderlands. As their mission ultimately changes course, the meaning behind their engagement begins to elude them.

  • “Critic’s Pick! Roberto Minervini’s intimate and impressionistic drama… The skies are overcast and the tone is contemplative in THE DAMNED, as a small company of Union Army soldiers sets out in 1862 to explore the dangerously unmapped territories of the American West.”

    — Jeannette Catsoulis, The New York Times
  • “THE DAMNED brings the Civil War to intimate life, obliquely and mesmerizingly…. consider it an origin story for Minervini’s perceptive, understated exploration of an America still in conflict.”

    — Tim Grierson, Los Angeles Times
  • "Roberto Minervini’s no-budget Civil War saga is a beautiful, plotless meditation on the grit, light, violence, and landscapes of American ennui."

    — Michael Atkinson The Village Voice
  • "Mesmerizing. A quietly intoxicating and existentially real war movie."

    — Jordan Mintzer, The Hollywood Reporter
  • "A welcome addition to an oeuvre consistently attuned to the way Americans think about faith, class and community, whether or not the Americans in question realize it themselves."

    — Peter Debruge, Variety
  • "A melancholy, almost subervsive, mood piece... There’s a haunting quality to this handsomely filmed account of the slow attrition of faith, hope and purpose."

    — Wendy Ide, Screen International
  • "The Damned punctuates the routines of Army service and violent eruptions of wartime with the soul-baring conversations of Minervini’s nonfiction. Those chats (about war, religion, being a man) feel unnervingly candid, like reading someone’s journal from the time, probably a direct result of the collaborative techniques Minervini preserves from his work with his subjects in documentary."

    — Nicholas Rapold, Filmmaker Magazine
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