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Is that irresponsible? The answer depends on whether one views American Sniper as a endorsement of Kyle’s worldview or a portrait of it. A more didactic film would include a scene where Kyle meets a moderate Iraqi family or witnesses the consequences of airstrikes on civilians. Eastwood includes neither. Instead, Iraqi civilians appear primarily as potential threats: a mother handing a grenade to her son, a man with a cell phone who might be spotting for a sniper. This asymmetry—American soldiers are individualized with names and families; Iraqis are largely background figures—has been justly criticized as Orientalist. Yet it also forces the viewer to ask: Why does the film refuse to humanize the other side? One possible answer: because Kyle’s psyche refuses to. The film is a study in moral simplification as a survival mechanism. To see the enemy as fully human would be to question every shot Kyle took. Eastwood implicates the audience in this simplification, daring us to look away. The answer depends on whether one views American