‘Atropia’ Review: Alia Shawkat Stars in a Luca Guadagnino-Produced Military Satire That’s Stretched Too Thin

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Hailey Gates’ film debut, titled Atropia, is grounded in a fictional city created by the American military for cadet training. While it may seem unusual that the U.S. builds simulation facilities aimed at enhancing combat operations, either domestically or abroad, it isn’t entirely unexpected. In Sierra Pettengill’s gripping archival documentary Riotsville, USA, we delve into fabricated towns established by the military in the 1960s to educate domestic police on anti-riot tactics as a means of suppressing protest movements. Since the 9/11 attacks, U.S. war expenditure has skyrocketed to trillions, with significant portions allocated for overseas missions and homeland security.

War continues to be one of our country’s most lucrative commodities, and in the film “Atropia,” which debuted at Sundance, Gates aims to lampoon the activities within a role-playing facility using the perspective of Fayruz (brilliantly portrayed by Alia Shawkat). A hopeful actress, Fayruz switches between roles such as an Iraqi street vendor and, in more thrilling weeks, a mustard gas scientist. The film builds upon Gates’ confident short “Shako Mako,” which follows a character similar to Shawkat’s (again playing the role) as she plots her exit from a war zone simulation at a military base by covertly recording audition tapes for talent scouts.

In the movie “Atropia,” Gates, who was also the screenwriter, incorporates a limiting romantic subplot involving our emerging actress and a soldier character portraying an Atropian insurgent (Callum Turner). This love story provides a touching emotional dimension, but it sometimes overshadows the film’s satirical commentary on American imperialism by competing for narrative focus.

As a devoted admirer of “Atropia,” one can’t help but uncover the intriguing facets that unveil the symbiotic bond between the military-entertainment complex – a connection that thrives between the film industry and the U.S. Department of Defense. It’s common knowledge that filmmakers, granted access to military locations, gear, or classified data, often submit their scripts for review. By peering into the lives of actors, makeup artists, set designers, and prop creators who thrive in this perpetual simulation, Gates exposes how ordinary citizens unwittingly fuel the nation’s war machine. I can’t help but yearn for a stronger or even satirical commentary from the director on this thought-provoking relationship between Hollywood and the military – a bond that is as captivating as it is unsettling.

I step into the heart of Atropia, a world where a malfunctioning bomb on a donkey disrupts the usual rhythm. The soldiers and underpaid actors scramble to rewind the scene, much like any other job day for me. Filmmakers Gates and Eric K. Yue capture subsequent events with a comedic twist, meticulously blending shots of Atropia’s unique architecture (designed by Ashley and Megan Fenton) with its intricate workings, from the control room to prop studios. Atropia is a self-contained universe, complete with its own currency, clothing, bartering system, and news channels like “Box News” for Americans and “Al Jazzer,” catering to the MENA-coded residents of Atropia. From their comfortable command center, military bosses Tim Heidecker and Chloë Sevigny observe the unfolding simulation in powerful but fleeting performances.

In every workplace, there’s usually someone who is particularly dedicated, and in the fictional setting of Atropia, that person is Fayruz. She approaches her responsibilities with great diligence, always ready to assist her colleagues, such as Maria (Shaholly Ayers), by delving into their characters’ histories. However, many of her coworkers, like Noor (Zahra Alzubaidi), seem uninterested and argue that they are merely props for military training. Regardless, Fayruz remains committed. When she learns that a renowned celebrity will be visiting their “set,” she skillfully manipulates the scenario to ensure maximum screen time for herself.

This might be her opportunity to secure a significant acting role. Shawkat’s quick-witted comic delivery fits perfectly in the initial scenes of “Atropia“; the actress appears to be enjoying herself as an aspiring star, encouraging her co-actors to hide her underlying competitiveness. However, Fayruz’s reasons for being so invested in these roles seem somewhat unclear, given that she is Iraqi and her family disapproves.

Even though my attempt to win over that famous actor didn’t work out, I somehow crossed paths with Abu Dice (Turner), a soldier back from Iraq now training at Atropia. Our story kicks off in a quirky and comedic way before settling into familiar romantic comedy tropes. Shawkat and Turner, who previously starred together in Jeremy Saulnier’s Green Room, reteam here as improbable lovers. Their relationship hovers between a genuine bond and, given that this is all taking place within a virtual world, an amplified performance. The chemistry between these actors keeps these scenes afloat, despite their tonal differences from the more comedic aspects of Atropia. In my private moments with Abu Dice, he often experiences flashbacks to his time in Iraq, and here Gates mixes real-life footage of soldiers into the narrative. The contrast between these serious images and the slapstick comedy can be quite shocking.

In the heat of Abu Dice and Fayruz’s growing passion, the comedic and satirical aspects of Atropia’s military complex take a backstage to their storyline. The humor that persists occasionally misses its mark, and the anticipated satire turns into a monotonous series of jokes that are thrown around without much thought, often targeting the Atropians. Gates presents an engaging concept, revealing the extent of military propaganda in the U.S., but by tackling so many issues, her film fails to make a strong impact.

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2025-01-26 20:55