‘Atropia’ Review: Alia Shawkat Trains Troops Assigned to a Fake Iraqi Town in a Self-Reflexive War Comedy That Peters Out

by

According to her 2020 short “Shako Mako,” Hailey Gates creates and directs “Atropia,” an uncommon war satire critiquing Western perspectives on the Middle East. However, both its mockery of U.S. militarism and main character development could have been more fully developed. Despite this, the film offers entertaining comedic moments through its sharp insights into American media. It’s a self-reflective piece that, though it ultimately fades, still manages to be amusing by mirroring Hollywood war films.

In the opening of the short film “Atropia,” similar to Steven Gates’ work, we find Alia Shawkat portraying an Iraqi woman watching U.S. troops march through her town in search of a fugitive. Just as an IED explodes, the scene descends into pandemonium; limbs fly every which way and terrified villagers cry out “Down with America!” These recurring elements echo typical representations seen in contemporary war films, from the soldiers’ suspicions being swiftly validated to the Orientalist musical scores that depict a romanticized image of a foreign land rather than conveying an authentic emotion. The scene is instantly disconcerting and dated – but it’s refreshing when this turns out to be a carefully planned, visually stunning exercise on a large set, underscoring how frequently such representations are used and accepted.

2006 finds us in Atropia, a fictional California country serving as a training ground for newly-minted cadets, preparing them for deployment in America’s ongoing conflicts (specifically, Iraq). This place operates like an expansive movie set, with the film by Gates portraying it as such. It has logistics coordinators acting like assistant directors (June Carryl), a seasoned special effects lead (Sal Lopez), a dialect tutor (Tony Shawkat), and even high-ranking military officials issuing orders from an executive boardroom (Tim Heidecker, Chloë Sevigny). The training videos with a touch of humor set the tone, skewering the mid-2000s “War on Terror” as an empty, monotonous endeavor, much like a day in Westworld. The simplistic populating of the town mirrors Hollywood’s own role in disseminating misinformation and manipulating public opinion.

I, as Fayruz, an Iraqi struggling actress, am one of the few participants who hail from my homeland and share the Arabic language. I’m deeply committed to my role, hoping it will catch the eye of a visiting movie star (a delightful spoof of Hollywood’s war-torn melodrama). My fellow performers, such as Gloria, my coworker, are more fluent in Spanish; many of those labeled “Iraqis” in Atropia are actually Latin Americans. In stark contrast to my method acting style, the recently arrived Arab immigrant Noor merely goes through the motions to secure a Green Card. Similarly, the numerous disabled and amputee actors seem content just to have been hired. Much like real-life actors on sets, every extra here has their own unique challenges.

The movie’s setting is meticulously crafted, resulting in a convincing and authentic atmosphere filled with dust, warmth, and signs of long-term habitation. It features a diverse cast that includes many disabled and amputee actors. Fayruz, seeking to maintain ties with her homeland, attempts to use the production as an audition by bending some rules. She encounters an in-character Iraqi insurgent named “Abu Dice” (played by Callum Turner), a white soldier who has experienced combat firsthand, which leads to a complex and intriguing romantic tension. Their relationship unfolds in unexpected ways, blurring the boundaries of their fictional world. This unusual romance is portrayed through thrilling moments, but it eventually loses momentum when it becomes apparent that the secrets they hide from each other don’t significantly impact their dynamic.

The most captivating aspect of this exercise might be the way these young soldiers navigate through it. Most are barely adults, some having joined for the college benefits; none truly comprehend why they’re being sent to Iraq initially. This question is briefly addressed in the film at the start, setting its political stance clear, but it’s not delved into much afterward.

In a captivating manner, the film skillfully juxtaposes the timid, anxious individuals (captured intimately) with their boisterous, collective self (portrayed comically in wide-angled shots). This contrast offers a profound insight into the kinds of young people – often naive, desperate, or overzealous – who become enveloped by the hyper-masculine culture of the U.S. military, from its nicknames to initiation rites. The movie doesn’t condone their involvement in an imperialist invasion, but it does spark a sense of wonder about what might have drawn them into this situation.

Although the film sometimes lacks focus, its core concepts provide a strong base. However, the frequent use of dramatic music fading out, reminiscent of comedy trailers, can become repetitive and tiresome. Additionally, characters like Jane Levy’s satirical reporter character, who could potentially bring fresh perspectives, often serve as mere precursors to other characters’ crude humor instead.

In many war movies produced by Hollywood, the issues with America’s “Forever Wars” are not as directly addressed as in “Atropia.” The film delves into racism and military matters, but these topics are rarely further explored after their initial introduction. Gates’ work seems to be on the verge of biting satire at times, yet it consistently falls short of broadening its scope.

Read More

2025-01-27 04:47