The story follows “David” (played by Ian Hart), who finds himself without much hope in Liverpool during the late 1930s and decides to join the International Brigade to fight in the Spanish Civil War. He quickly makes connections and joins the POUM, a group of Marxists where he meets "Bianca" (Rosana Pastor) and soon realizes that this is an incredibly brutal conflict. While united in their opposition to fascism, David discovers there’s little else holding this diverse collection of communists together. After being wounded, he goes to Barcelona but finds no more satisfaction amongst a local militia whose agenda seems just as driven by practicality as it is by ideology. He returns to his original group, but with the war nearing its end and uncomfortable compromises becoming necessary, he wonders if there’s any future for him there or if he should simply go home. Though the film aims to make a point, I found that it lacks depth and well-developed characters. The idea of an enemy's friend being one's own seems to guide their strategy, but it becomes apparent that these people soon stop fighting for “the” cause and start fighting for “a” cause – perhaps even "any" cause that aligns with their general opposition to anything right of Stalin. Indeed, the Soviet Union’s lack of support suggests they might have been too extreme or unwilling to compromise, which likely discouraged others from providing them with supplies. The film emphasizes the solidarity of the left as if it were a perfect ideal, but like that mythical object, it's never truly found by “David” or anyone else. While the movie criticizes the rise of right-wing movements in Spain, it doesn’t explore why they were succeeding – instead relying on unsubstantiated statements that make their own cause seem as militaristic and oppressive as the one they fought against. It assumes these socialists are worthy judges and juries and portrays opposing institutions, particularly the church, as extensions of an extremist government—but relies on the viewer's existing beliefs to convey its message rather than using characters to demonstrate their superiority or honesty. The actions of Tom Gilroy’s “Lawrence” exemplify some of those attitudes effectively. Many local people, deeply affected by years of constant gunfire and explosions, just wanted it all to end, but that’s not what these freedom fighters desire. By the film's conclusion, they come across more like war tourists fighting wherever there was a battle than people genuinely invested in the nation they were supposedly helping. It’s a significant topic with ample opportunity to illuminate the unstoppable rise of nationalism from Italy to France during this turbulent decade, but instead it uses an unremarkable cast to make weak points and then simply fades away. What a shame.

Source on TMDB