It is important, as Peele has said during the press circuit for the film, to position black people as leads in a film simply for the sake of recognizing their humanity and not because of how they can be utilized to break down race relations. While Peele has stated that this film is not about race in a direct sense like Get Out, as a black viewer, I can’t help but see that social horror reflected through my own blackness and that of the Wilson family. How we as individuals see our contemporary politics reflected in the film is the question, but I think that it may be the first horror film of its kind to truly dismantle Trump’s America and how we as people, especially black people, fit into it. Us, like so much of horror, is political. This feels by design, and surely Peele wants his audience to leave with questions that lead to their own answers. As a result, there are a myriad of valid theories that can emerge from the film. Us is more ambitious and more difficult to analyze than Peele’s first film, though no less of a tremendous work. Jordan Peele’s follow-up to his hit 2017 film, Get Out, offers a complex look at the duality of humanity, particularly that which exists within ourselves (us) and the United States (U.S.). “We’re Americans,” her duplicate, Red (Lupita Nyong’o), responds in a voice that sounds like a struggle against death. “Who are you?” Adelaide (Lupita Nyong’o) asks. They’re positioned around the fireplace, flickering light and shadow obscuring their faces ever so slightly, but not enough to mask the fact that these four figures, clad in red bodysuits, are doppelgangers of the Wilson family.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |