Atropia Film Review: Satirical War Game

Atropia has a fascinating premise, but weak character development, awkward humor, and an unconvincing romance hold it back.

But while Atropia aims for sharp, incisive humor, much of its comedy lands awkwardly, and its satire often feels muddled. Despite some intriguing ideas, the film struggles to fully flesh out its characters, leaving its central romance feeling forced and its themes underdeveloped.

Gates’ vision of Atropia, a fabricated city designed for military training yet close enough to Los Angeles to double as a film set, is certainly fascinating. The film presents a surreal, almost dystopian backdrop where actors are paid to live out a war narrative, complete with explosions, staged ambushes, and even artificial smells to heighten the realism. The absurdity of this setting is where Atropia is at its most compelling, and Gates does succeed in making it feel like a strange, liminal space, neither entirely fiction nor reality. However, while the world-building is intriguing, the film falters in execution, particularly in how it handles its characters and humor.

One of the biggest issues with Atropia is its protagonist, Fayruz. As an aspiring actress stuck in this bizarre war simulation, she should be a compelling anchor for the film. However, she comes across as grating rather than engaging. The movie positions her as someone deeply invested in the “performance” of war, yet it never gives her enough depth to make her struggles or desires feel tangible. Instead of being someone the audience can root for, she often feels like an exaggerated caricature: self-absorbed, unfunny, and ultimately difficult to connect with. Alia Shawkat is a talented actress, but the material doesn’t do her many favors, and the character’s lack of development makes it hard to invest in her journey.

The romantic subplot between Fayruz and Abu Dice (Turner), a soldier playing an insurgent in the simulation, is another major weak point. Their relationship is meant to be a clash of real emotions against the backdrop of artificial war, but there’s little chemistry between Shawkat and Turner to sell this dynamic. Their interactions feel rushed and unconvincing, making it difficult to buy into the idea that their connection is strong enough to disrupt the performance. Without a believable emotional core, the film’s central conflict feels hollow.

Adding to the film’s struggles is its uneven satire. At times, Atropia hints at deeper commentary on the absurdity of military-industrial spectacle, the blurred lines between entertainment and warfare, and the strange desperation of actors willing to live in this surreal environment. But rather than fully committing to biting critique or sharp comedy, the film wavers somewhere in between. Some moments are genuinely amusing, but much of the humor feels awkward or forced, failing to land the punch it seems to be aiming for.

The supporting cast, including Chloë Sevigny as an executive overseeing the simulation, has moments of intrigue but is ultimately underutilized. Characters are introduced without enough background or motivation to make their roles feel substantial. There’s an underlying idea that Atropia wants to explore, like the way people perform roles, whether on stage, in war, or in life, but the film never pushes these ideas far enough to make a lasting impact.

Despite its originality, Atropia ultimately feels like a missed opportunity. The premise is promising, and the world it builds is strange and intriguing, but the lack of compelling characters, an unconvincing central romance, and inconsistent humor keep it from fully realizing its potential. It has flashes of cleverness and ambition, but as a satire and as a story, it never quite comes together.

Atropia had its World Premiere at the 2025 Sundance Film Festival, where it won the U.S. Grand Jury Prize: Dramatic.