A commonality among most American movies about Middle Eastern wars is their strict focus on U.S. soldiers — see last year’s startlingly immersive Warfare — from the hell of active combat to years of PTSD-related psychological fallout, generally reducing the enemy to faceless “others” with neither names nor humanity. First-time feature director Reed Van Dyk establishes from the start that Atonement  will veer from that course, opening on three generations of a close-knit Iraqi family, the Khachaturians, staying temporarily in the same chaotic house, ostensibly outside the conflict zone. While TV news coverage of airstrikes on Baghdad proclaims, “The great invader has arrived,” a young mother instructs her children not to talk to or accept anything from American soldiers they might encounter.…