‘Words of War’ courageously exposes a terrible truth

By Brent Marchant

“Words of War” (2025). Cast: Maxine Peake, Jason Isaacs, Ciarán Hinds, Harry Lawtey, Naomi Battrick, Fady Elsayad, Anton Valensi, Ellie Bamber, Moe Bar-El, Lujza Richter, Tomi May. Director: James Strong. Screenplay: Eric Poppen. Web site. Trailer.

As much as one would like to believe that humanity is capable of great things, we’ve also seen many instances where the opposite, unfortunately, is true. And, to make matters worse, many of those unsettling developments remain out of view, hidden in the shadows – that is, until someone comes along to courageously expose them. Those revelations often come at tremendous personal cost, too, but, when the world becomes aware of such horrors, opportunities for change, justice and healing begin to emerge. Such are the hopes offered up the gripping new fact-based historical drama, “Words of War.”

Before the barbaric invasion of Ukraine, President Vladimir Putin’s Russian Federation conducted an equally unspeakable campaign of brutality against the people of Chechnya during its attempt to become a breakaway independent state in the 1990s. However, the vicious, genocidal atrocities inflicted upon the Chechan population were not widely known at the time, especially amongst Russian citizens. As word began to leak out, though, the events unfolding in the rebel republic gradually caught the attention of the journalists at Novaya Gazeta, an independent newspaper founded by former Russian Head of State Mikhail Gorbachev with the funds he received after winning the Nobel Peace Prize. The mission of this publication in the new Russia was to report the truth as an alternative to official state propaganda, whose media outlets continued serving as a government mouthpiece, a practice established during the days of the Soviet Union. But, despite its audacious reporting efforts, Novaya Gazeta’s content was nevertheless squarely under the microscope of censorship authorities trying to keep a lid on the truth.

The publication’s coverage of the carnage in Chechnya took a big step up with the work of intrepid journalist Anna Politkovskaya (Maxine Peake). Her work on a story about Chechan war orphans who had been relocated to Moscow played a large role in launching these efforts. As a mother of two herself, Politkovskaya took a profound interest in the plight of the children. When she saw the pained, frightened and sometimes-hostile reactions of the youngsters toward her as a Russian – an unwitting but arguably damnable symbol of the people who were devastating their families and homeland – Politkovskaya knew that there was something deeper, more powerful and more menacing about the children’s experience that wasn’t being reported outside of Chechnya. Suddenly, this human interest story mushroomed into a bigger and more troubling subject than she had imagined – and that she simply couldn’t leave alone.

Upon assessing the gravity of what this story might entail, Politkovskya made a pitch to her editor, Dmitry Muratov (Ciarán Hinds), to pursue it in greater depth, an effort that included a proposal to travel to Chechnya to witness firsthand what was transpiring on the ground. Considering the potential danger involved for someone who had never acted in the capacity as a war correspondent, as well as cautions from Muratov’s associates about the fallout that might come from officialdom for launching such a daring and possibly inflammatory initiative, the editor was skeptical about the wisdom of Politkovskaya taking on such an assignment. However, when Muratov could see how impassioned she was about pursuing the story, and given the newspaper’s commitment to its mission statement, he agreed to let his reporter follow her instincts to see what was happening – and to uncover the truth.

This is not to suggest that Muratov wasn’t worried about his reporter’s safety; he was. And he wasn’t alone. Anna’s family had serious reservations, too. Her husband, Sasha (Jason Isaacs), a successful talk show host on Russian state television, was concerned that she was in way over her head. And her two adult children, Vera (Naomi Battrick) and, especially, Ilya (Harry Lawtey), couldn’t believe the dangerous task on which she was embarking. But, as much as she appreciated their concerns, Anna was committed to this venture, knowing she had to see it through.

As she departed for Chechnya, Politkovskaya was initially embedded with a troop convoy, a tense and often-unnerving experience that subjected her to the rigid, unfeeling and misogynistic ways of the Russian military. What’s more, her travels with the soldiers weren’t getting her especially close to those she most wanted to see – the Chechen people. How could she get her story if she had little to no opportunity to interact with them?

That changed, however, when the convoy came upon an exodus of despondent, beleaguered refugees wandering through a bombed out village in search of sanctuary. As they shuffled through the streets, they appeared to walk aimlessly, without hope, unsure of where to go or whether any safe place even existed for them. When Anna saw this, she knew she had found the people she needed to talk with. She separated from the convoy and immersed herself in the lives of those who, it quickly became apparent, had lost virtually everything at the hands of the Russian troops. She could now appreciate the meaning behind the expressions on the faces of those orphaned refugees back in Moscow.

As she sought to ingratiate herself and gain the trust of the refugees, Anna met a volunteer Chechan relief worker, Anzor (Fady Elsayad). He was curious about this courageous Russian woman who seemed unexpectedly willing to engage with a crowd of individuals who had come to so deeply despise her people. It prompted Anzor to speak with her, marking the beginning of a working relationship in which he became Anna’s driver and interpreter, even acting as a facilitator to introduce her to interview candidates, such as his mother, Fatima (Lujza Richter).

Before long, Anna got a clear picture of the brutality being inflicted on the Chechan people, victims who were persecuted for their politics, their religion and their ethnicity, incidents that were “justified” as a means to curtail the “rising terrorist menace” within Chechnya’s borders that were allegedly threatening the republic and surrounding territories. She could see the genocide being indiscriminately carried out against an entire population, and she began writing about it in earnest. The film subsequently chronicles many of her harrowing experiences as she traveled throughout the wartorn republic, complemented by voiceover renditions of her reports from the field. Those accounts held nothing back, telling the Chechans’ story in painful detail, punctuated with scathing commentary against the actions of the Putin dictatorship. And, thanks to the solid support of her publishing colleagues back in Moscow, the word was at last getting out.

Politkovskaya’s fearless reporting from 1999 to 2006 made the world aware of the butchery in Chechnya. It earned her an invitation to testify before the United Nations Security Council about Putin’s dirty little secret and of the estimated 60,000 lives lost during the Chechan Revolt. Her activism also helped her garner accolades for her efforts, such as being named the winner of Amnesty International’s 2001 Award for Humanitarian Journalism. But her writings and advocacy came at a cost, too, including attempts on her life, the capture and torture of her Chechan liaison, strained relations with her children, and the ruining of her husband’s career. But, from Anna’s perspective, the agony and turmoil were worth it, especially given the magnitude of the ordeals the Chechan people had to endure, atrocities they desperately wanted humanity to know about.

It takes a special kind of individual to undertake the sort of work that Anna Politkovskaya tackled. Many of us probably can’t begin to imagine what she witnessed and endured, not to mention the lengths to which she had to go in getting the story and the courage required of her in writing what she did considering the stern opposition she faced from the Putin regime. But, with so much at stake, she could not in good conscience turn away from it. She was determined to inform the world – particularly her fellow Russians – about the unspeakable atrocities being perpetrated by her government. Most importantly, though, she believed that she could accomplish this task, and that, in the end, is what enabled her to successfully carry out her mission. And that element – a belief in oneself and one’s capabilities – is crucial in embarking on any kind of venture, no matter what it might be. Such is the essence of the conscious creation process, the philosophy that makes it possible for us to shape our existence in line with our thoughts, beliefs and intents. It’s unknown whether Anna had ever heard of this way of thinking, but, in light of what she accomplished, it’s apparent that she knew how to successfully make use of its principles to realize her laudable ambitions, achievements for which the Chechans, newly enlightened Russians and the world at large should ultimately be grateful.

As this film so aptly illustrates, much of Anna’s success derives from who she is as an individual, a persona created out of her personal attributes, aspects of her true self that are borne out of her beliefs about herself. And, in shaping the nature of her character, she has come up with the precise combination of traits needed to fulfill what she sought to accomplish. For instance, her tenacity and determination are undeniable, qualities that are positively essential in attaining her goals, especially in light of the conditions under which she operated. Had they been absent or even present to a lesser degree, how likely is it that she would have been able to succeed under such daunting circumstances?

Then there’s Anna’s faith in herself, another trait that enables her to resolutely set about her work, regardless of what obstacles she might come upon. She knew that she could fulfill her objectives, even when others may have had their doubts. Indeed, many onlookers – including co-workers and members of her own family (theoretically those who should have known her best) – sincerely believed that this former housewife and doting mother lacked what it took to venture off into a war zone and cover a story under conditions as challenging as these, particularly with the peering eyes of the Russian military and government operatives constantly looking over her shoulder. Yet, as her on-the-ground experiences illustrate, she was undeterred, that she genuinely had what it took to get the job done.

Of course, her commitment to this cause is significantly bolstered by the tremendous reserves of courage she possesses. Not only does this allow her to adhere to her convictions, but it also enables her to vanquish whatever fears that stand in her way. That’s crucial, given that fears can become major impediments in attaining our objectives, keeping them from materializing in the manner we hope for – or even at all. Our belief in personal courage, however, can function like a mighty sword to slay the dragons that stand in our way, a valuable tool when we find ourselves surrounded by as many beasts as Anna no doubt encountered when reporting on what was unfolding in Chechnya.

Together, these attributes combine to produce a force truly to be reckoned with. And, considering how Anna succeeded in managing these qualities, she was able to fulfill her destiny, her reason for being. Considering our capacities for manifesting our aspirations, it’s truly tragic when we come up short in doing so. By contrast, though, it’s genuinely inspiring and truly gratifying when we’re able to blend the elements needed to achieve that for which we strive, especially undertakings that represent our value fulfillment, the attainment of being our best, truest selves for the betterment of ourselves and those around us. Anna achieved that, even if it came at a great personal cost, but she gave us a tremendous gift in doing so, one that ultimately benefitted so many and allowed those who sacrificed so much to rest in peace more easily.

What’s more, the example Anna set through her work is uplifting and undeniable. This becomes apparent in the film through her association with fellow journalist Elena Milashina (Ellie Bamber), one of Politkovskaya’s peers at Novaya Gazeta. Anna mentored her associate, inspiring Elena to follow in her colleague’s footsteps and eventually to carry on the work that Politkovskaya started. And that is one of the most significant takeaways that viewers should get out of this film – that we need journalists like Anna and Elena, who courageously sacrifice much in pursuing the gut-wrenching stories that come out of troubled locales like Chechnya and Ukraine, among other global hotspots. But, if that’s to happen, we need individuals who are willing and able to cultivate the qualities – and the beliefs that underlie them – to make such work possible. This release pays a fitting tribute to Anna, as well as so many others around the world, who have taken up the cause to tell these stories, especially when there are so many factions out there that would just as soon squelch them to prevent them from seeing the light of day.

Director James Strong’s fact-based biographical feature tells a compelling, if at times troubling, tale examining the tremendous impact of the protagonist’s work, as well as the triumphant yet devastating impact it had on her and her kindreds. This is effectively brought to life by the positively fierce performances of its superb ensemble, particularly Hinds, Isaacs, and, especially, Peake, all of whom deliver outstanding portrayals worthy of well-deserved awards season consideration. Admittedly, this offering can be somewhat formulaic and episodic at times, with character development that’s occasionally a little one-dimensional. That aside, however, “Words of War” makes clear that, no matter what issues we may have with today’s media, we still need reporters who are willing to put themselves on the line to tell the stories that we may not know about – or may not want to hear – if we ever hope to make this planet a better place to live for us all.

This superb offering recalls many excellent and revealing predecessor releases that tell comparable stories, such as the narrative biographies “The Killing Fields” (1984), “A Private War” (2018) and “Lee” (2024); the fictional features “Civil War” (2024) and “Viper Club” (2018); and the documentaries “20 Days in Mariupol” and “Slava Ukraini” (“Glory to Ukraine”). And, for its accomplishments, “Words of War” rightfully belongs beside these offerings, poignantly reminding us all – and not just journalists – to remain vigilant in the face of what is or could be unfolding around us.

Sadly, this release played fleetingly in theaters and has largely flown below the radar, and it’s likely to be overlooked when this year’s cinematic accolades are handed out. But, for my money, this is truly must-see viewing, now accessible for streaming on multiple online platforms. Don’t miss this one.

Journalists – especially those who run the risk of placing themselves in peril – are often a highly misunderstood bunch. Many onlookers gaze upon what they do and wonder how they could possibly engage in such dicey activities. But these examinations frequently provide only a small portion of the overall picture of what’s transpiring. In many cases, it’s not until their work is done when the complete picture comes into view, a perspective that provides an enlarged and more detailed look at their respective missions. And it’s at that point when the full value, meaning and impact of their accomplishments become apparent, realizations among observers that generally take on new levels of appreciation for their outcomes, commitment and intrepidity. Thankfully, those courageous souls could sense what many of the rest of us couldn’t and were willing to place their own well-being on the line to see their hunches revealed. Anna Politkovskaya was clearly one such individual, and we have much to be grateful for in carrying out her efforts. We need more like her these days to uncover what’s hidden but needs to be seen – and who firmly believe that they can accomplish these tasks for the betterment of us all.

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