Hailey Gates Wins Sundance with Bold Satire of U.S. Military

Hailey Gates has made her mark at the Sundance Film Festival with her debut feature film, Atropia, which won the Grand Jury Prize in the U.S. dramatic competition category. This film satirizes various aspects of American culture, including the military, media, and the film industry itself. It explores the environment of a training facility designed to prepare troops for deployment to foreign lands, blending surreal moments with elements of slapstick comedy.

Gates, who has a diverse background in acting, modeling, and journalism, expressed her desire to address the underrepresented experiences of the “9/11 generation.” She noted, “When you look at Vietnam, all the great directors made anti-war films. But when you look at the Iraq War, there’s a real dearth.” This observation highlights her aim to fill a gap in cinematic representations of contemporary conflicts, particularly those involving the U.S. military.

The film’s title, Atropia, is derived from the fictional country that Gates discovered during her research on U.S. military training sites. “They’re all called things like Fort Irwin, and they give them different town names,” she explained. “The idea, I’ve heard, is from the Greek word atrophia, meaning to atrophy, so they’re always fighting atrophy to keep the military muscle strong. A little military poetry for you.”

Filmed in just 19 days on a movie ranch in California, Gates found the production process invigorating rather than chaotic. She remarked, “Everybody thought 19 days was crazy, but I thought it was thrilling to have a schedule with time.” Witnessing the large crew assembled to bring her vision to life was an emotional moment for her.

Gates’ experience in smaller roles has also shaped her perspective as a director. She recalled working with David Lynch on a project where he utilized a megaphone for just a few people. This experience taught her about the importance of aligning the entire crew emotionally, something she strives to replicate in her own directing style.

The film’s comedic approach to serious themes, including U.S. imperialism, was a deliberate choice for Gates. “I studied experimental theater before I became a filmmaker,” she said. “I studied a type of French clowning called bouffon, where you perform for the king and make him laugh at his atrocities.” This technique, she explained, allows for a unique method of storytelling that engages audiences while prompting them to reflect on deeper issues.

While Gates is proud of the film’s bold satire, she is aware of the potential backlash it may provoke. “It’s definitely a film about the American empire and its follies. I just wanted to show that it was built with flimsy plywood,” she stated. This sensitivity to audience reception was underscored by one foreign festival that initially invited the film but later expressed concerns that it might offend viewers.

Gates recognizes that Atropia diverges from traditional Sundance offerings, noting, “It’s not a mood piece, it’s not very sentimental. But I’d rather make something polarizing than something everybody loves.” This philosophy underscores her commitment to creating art that challenges viewers rather than merely entertains them.

As the film’s release in the U.S. approaches, Gates remains enthusiastic about its impact. “If everyone liked the movie, we would’ve made the wrong movie,” she concluded, firmly believing in the importance of addressing complex societal issues through her work.