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Beast of War (2025)
When their boat sinks while crossing the Timor Sea during World War II, a troop of young Australian soldiers must find a way to survive the harsh seas on a quickly shrinking raft. Hundreds of miles from anywhere, they must confront interpersonal conflicts, enemy attacks, and the advances of one very large, very hungry great white shark.
When their boat sinks while crossing the Timor Sea during World War II, a troop of young Australian soldiers must find a way to survive the harsh seas on a quickly shrinking raft. Hundreds of miles from anywhere, they must confront interpersonal conflicts, enemy attacks, and the advances of one very large, very hungry great white shark.
The film explicitly promotes progressive ideology by centering its narrative on a critique of systemic racism and toxic masculinity, while also emphasizing anti-war sentiments and the importance of historical responsibility.
The movie foregrounds Indigenous representation by centering an Indigenous protagonist and explicitly addresses systemic racism and racial tension within its narrative. It explores the historical inequities faced by Indigenous soldiers during WWII, making racial politics an integral part of the story.
Beast of War, a WWII survival thriller, focuses on themes of masculinity, camaraderie, trauma, and racial dynamics. Critical analyses and plot summaries confirm the absence of any discernible LGBTQ+ characters, storylines, or thematic exploration, resulting in no portrayal of the LGBTQ+ community.
The film "Beast of War" does not feature any identifiable transsexual characters or themes. Its narrative centers on survival during wartime, focusing on soldiers and a giant shark, without addressing transsexual identity or experiences.
Based on available information, the film focuses on male Australian soldiers battling a shark and enemy forces. There are no documented instances of female characters engaging in or winning close-quarters physical combat against male opponents.
The film's characters, including male soldiers and female nurses, are portrayed on screen with genders consistent with their established canonical or historical roles, with no instances of gender swapping.
The film's casting aligns with the historical and narrative backgrounds of its characters, including Indigenous Australian and white Australian soldiers, and a Japanese commander. The production emphasizes ethnic and phenotypical authenticity, with no instances of characters being portrayed by a different race than historically or canonically established.
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