The True Story Behind Iraq War Reconciliation Drama 'Atonement'

In April 2003, during a firefight in Baghdad, a U.S. Marine unit opened fire on a car carrying an Iraqi family. Three men were killed, and the surviving daughter sustained a shoulder wound. Nearly a decade later, two women from that family, who had since immigrated to the United States, met with one of the Marines involved in the incident to seek understanding and closure.

This real-life encounter inspired journalist Dexter Filkins' 2012 New Yorker article, "Atonement After Iraq." The piece documented U.S. Marine Lu Lobello's efforts to connect with Margaret Kachadoorian and her daughter Nora, aiming to apologize for the incident that claimed Margaret's husband, James, and their sons, Nicolas and Edmund. Lobello enlisted Filkins to help facilitate this meeting. The film "Atonement," written and directed by Reed Van Dyk, dramatizes this event. In the film, the real-life individuals are portrayed by actors: Filkins becomes Michael Reid (Kenneth Branagh), Margaret is Mariam Khachaturian (Hiam Abbass), and Lobello is Lou D’Alessandro (Boyd Holbrook).

Van Dyk first encountered Filkins' article in 2012 and was deeply moved by its portrayal of the incident's profound impact on all involved. "I found it really touching to see and feel in a very detailed way the impact that this one incident in war had had on all of these characters' lives, and I did remember thinking, ‘Boy, this would be a really beautiful film story,’" Van Dyk recalled.

From Concept to Screenplay

At the time he first read the article, Van Dyk was early in his career and unable to pursue a feature film. Six years later, following his Academy Award win for the short film "DeKalb Elementary," which was also inspired by a real-life tragedy, Van Dyk felt ready to bring "Atonement" to the screen. "After that, I immediately reached for my copy of that New Yorker issue, which I still have, and started trying to make this film," he said.

Translating the 12-page article into a two-hour film presented challenges. Van Dyk focused on fleshing out the characters, particularly the journalist figure who was less developed in the original reportage. "You have this wonderful reportage to work with, and all of the texture and specificity that comes with that," Van Dyk explained. "Then there are all the rooms that Dexter wasn't in. That's where my job comes in."

Unlike many war films, "Atonement" minimalistically depicts combat, using the single event from the Iraq War as a catalyst to explore humanity and its aftermath. The film emphasizes connection over division, and Van Dyk was committed to presenting the Iraqi perspective with the same depth as the American one. "I’m accustomed to seeing Iraqi characters in most Western films about war through sniper scopes. That wasn’t something I was interested in," he stated. His goal was to centralize voices typically marginalized in American cinema.

The Real-Life Meeting

Lobello initially reached out to Filkins via Facebook in March 2012, expressing a decade-long desire to connect. He stated, "You could ease my PTSD," and asked Filkins to help him reach the Kachadoorian family to offer an apology. Filkins, who had previously reported on the family but lost contact, found that Lobello had already located them through social media. Lobello hoped Filkins could act as a bridge between them.

The Kachadoorian family was receptive to the meeting. Margaret stated, "If he is asking for forgiveness, then we will give him forgiveness. God ordered us to forgive. He forgives us, so we must forgive others. Even people who killed our dears."

The meeting occurred in July 2012. Lobello was visibly anxious and became emotional upon meeting Margaret and Nora, who offered comfort. The subsequent conversation was described as tense, with Filkins noting that while forgiveness was offered, a complete resolution remained elusive, acknowledging the enduring complexities of grief and war. Despite the difficulties, something significant occurred during their time together.

Several days after the meeting, Nora messaged Lobello on Facebook, expressing happiness about his visit and feeling as though she had gained "a third brother" and "the third son to my mom."

Holding Conflicting Truths

Van Dyk's research for "Atonement" was extensive, including conversations with Lobello, the Kachadoorian family, marines, and Iraqi civilians. He traveled to Baghdad with his director of photography, Jon Peter, an experience that contrasted with cinematic portrayals of the country. "I found it rich with color and rich with spirit, when most films posit the country as something more apocalyptic," he observed.

He also drew inspiration from books by Iraqi authors and veterans, as well as documentaries such as Abbas Fahdel's "Homeland: Iraq Year Zero" for its civilian perspective, "Restrepo" for its depiction of combat, and "The Act of Killing" for its exploration of the psychological and spiritual effects of killing.

During his close work with the Kachadoorian family, Van Dyk had a key realization. Margaret told him, "Sometimes I look at him and I see my son, and sometimes I look at him and I see the man who took my son." This sentiment, which Van Dyk incorporated into the film, underscored the complexity of her experience and informed his approach to portraying the dualities of the situation.

"Atonement" aims to challenge prevailing narratives and foster empathy by showcasing the possibility of reconciliation. "It’s rare that there are opportunities to make amends," Van Dyk stated. "That's what makes this story so different from other stories that unfold during a war. Everyone got to sit down together again. I think there’s something powerful about people willing to hold space with others who were on a completely different side of war, let alone forgive someone."