War, satire, and the art of making people squirm—Hailey Gates’ ‘Atropia’ is here to shake things up. Fresh off a surprising Sundance win, Gates’ debut feature is now vying for attention at the Tokyo International Film Festival, and it’s anything but conventional. Blending surrealism with slapstick humor, the film takes a razor-sharp look at the U.S. military, the media, and Hollywood itself, all set against the backdrop of a training facility preparing troops for deployment to unfamiliar lands. But here’s where it gets controversial: Gates isn’t just poking fun—she’s holding a mirror up to American imperialism, and not everyone is ready to face the reflection.
In an interview with The Hollywood Reporter, Gates revealed the film’s origins: ‘It started when I was trying to make a documentary,’ she explained. ‘I was trying to build a relationship with the Department of Defense—now the Department of War—but my vision didn’t align with their expectations. So, I pivoted to creating a MASH-style satire instead.’ With a background in acting, modeling, and journalism, Gates felt compelled to address what she sees as a glaring gap in cinematic portrayals of the ‘9/11 generation’s wars. ‘Where are the anti-war films for the Iraq War?’ she asks. ‘It’s not just about Bigelow or Eastwood—there’s a void, and I wanted to fill it.’
Named after the fictional country ‘Atropia,’ a term Gates discovered during her research into U.S. military training sites, the film stars Alia Shawkat and Callum Turner. ‘These sites have names like Fort Irwin, and they’re given fake town names,’ Gates explains. ‘The word ‘Atropia’ comes from the Greek atrophia, meaning to waste away. It’s almost poetic—the military constantly fighting atrophy to stay strong.’
Shot in just 19 days on a California movie ranch, the production was surprisingly smooth. ‘Everyone thought 19 days was insane, but I found it exhilarating,’ Gates recalls. ‘Seeing 40 cars on set that first morning, I actually teared up. It was surreal to see so many people bringing this wild idea to life.’ Her acting experience, including working with David Lynch on Twin Peaks, shaped her directing style. ‘Lynch uses a megaphone even in small rooms,’ she notes. ‘It’s not about volume—it’s about unifying the crew emotionally. That lesson stuck with me.’
And this is the part most people miss: Atropia’s humor is deliberately jarring. ‘I studied experimental theater and French bouffon clowning, where you make the king laugh at his own atrocities,’ Gates explains. ‘I love Trojan-horse storytelling—luring people in with comedy, then letting it sour, so they leave questioning what they found funny.’ She avoids cheap caricatures, opting instead for moral complexity. ‘I don’t want to preach,’ she says. ‘I want audiences to grapple with questions and draw their own conclusions.’
But making a satirical film about the U.S. military in today’s climate isn’t without risks. ‘This is a film about the American empire and its flaws,’ Gates admits. ‘I wanted to show how fragile its foundations are. One festival even invited us, then backed out, saying it might upset people. It hasn’t had a wide U.S. release yet.’
Despite its Sundance victory, Atropia has divided critics. ‘Maybe it’s not a typical Sundance film,’ Gates shrugs. ‘It’s not sentimental or moody. But I’d rather make something polarizing than something safe. If everyone loved it, I’d know I missed the mark.’
So, here’s the question: Can satire truly challenge power, or does it just preach to the choir? Gates clearly believes in its potential, but what do you think? Is Atropia a bold statement or a risky misstep? Let’s hear it in the comments.
