Questions and answers for Jordan "Peele"

One of the best things that a movie can do, in addition to being just good, is to inspire rich and thoughtful conversations. That's what you want from all art, really. So, even though I was somewhat disappointed by the work of Jordan Peele WeI could not stop thinking about it, it's a gift as great as what you can expect from a clever filmmaker like Peele.

Ironically, a lot of my problems with We, a kind of prestige schlock movie that I hold at a higher level than the ordinary schlock, are also the things that make it so interesting to talk about. Peele's first film get out I think it's better for several reasons. His deep social policies are narrower but more consistent, he works better as a scary thriller than a full-fledged horror film, and his plot ultimately makes more sense with more satisfying full explanations. But the disorder of Weits wider reach and its nightmares, taken in delicate limbo between too literal and too abstract, invite you to complete yourself.

So with that in mind, instead of writing a mixed critique of We it would inevitably be as strange and so ubiquitous as the movie itself, I just wanted to list some of my thoughts and questions that hopefully will spark your own conversations. And do not worry, these complicated questions are not pedantic and useless, even if the movie will totally provoke the worst kind of explanatory YouTube end videos. SPOILERS AHEAD!

In addition to critical praise, is the secret to Peele's commercial success the combination of the fun theater experience that pleases the crowd of black and horror movies? That's why these movies are not ultimately this violent, not to alienate the general public?

How can Lupita Nyong'o be as formidable as Adelaide, subtle, desperate, raw and paranoid, as she plays her captive Doppelganger like a whistling ball of silly monster badignments that my audience literally laughed at until they 're laughing. to their excellent final fight?

How is it great that Winston Duke plays more of a monkey man in this movie than in Black Panther?

The amazing presence of Tim Heidecker here (one of the fantastic and strange performances that Peele gets from his actors) makes it a cross with the same blurred areaanthology of comic skits and horror Tim and Eric's Bedtime stories? Is it strange that I think that the series actually has a cinematography more legitimately frightening than this film?

As repetitive as some of the confrontations, was it not great that few tics of character come back in a more brutal context? The acrobatics of the twins, Jason locking the closet with the little car, the Gabe boat.

Is this movie really a secret Disney remake?

Even though some of the music is so dramatic, it has taken me a step away from the immediate experience, but just how much use of the remix "I Got 5 On It" and "Flowers" by Minnie Is Riperton interesting?

The image of The Hands Across America is both frightening and appropriately thematic, but does anyone understand perfectly what is happening with the food supply in scary rabbits? Multiplication? Why is the badogy with animals not as strong here as in get out or sorry to disturb you?

But honestly, the biggest question of this film is what double captives actually represent and what it is supposed to say. Are they dark sides of individual, intimate, personal, self-sabotant, psychological, or are they collectively a vast oppressed social subclbad, beholden to unconscious masters? Does it make sense to mix these two concepts?

Here is a quote from Peele from the premiere of the movie at SXSW two weeks ago.

"This film is about this country. We are in a time when we fear the other, whether it is the mysterious invader who we believe will kill us and take our jobs, or the faction in which we do not live, who voted differently from us. We are all on the point of the finger. And I wanted to suggest that maybe the monster we really have to look at our face. Maybe the evil is us.

In a vague way, the way We works, it makes sense. But I think that feeling does not hold the minute you start applying something specific to it. I do not like racists because they are racist. Racists do not like me because they are racist. I do not fear people who voted for fascists because I'm secretly scared of myself. I'm afraid of what Fascist politics will do in the country!

And here is where I think We also unfortunately not up to the level of racial and social politics intelligent and contemporary of get out. This film was a specific and vivid indictment of some type of condescending pbadive-aggressive liberal racism. But We has a more insipid attitude, "we are all accomplices", which spreads the blame for the verification of privileges wherever it really is not the case in reality. Some groups are actors much worse than others.

So, even if it's cool, the family here is only black, instead of really focusing on that as in get out, if We wants to portray Tethered's deadly revolution as a kind of deserved calculation for America's violent, pillage, oppressive and ideally forgotten past, the last absolute group of people who should suffer because of this is (at best the upper middle clbad), the black people!

Attached or not, Adelaide has made a living.

I hope my words here made you think more about the movie, but so much is happening in We there is probably some one more intelligent than me who works alone trials it will totally change my opinion about it. And again, even though I did not think the movie was good, it's great that a movie about stabbing your red-glinted reflection with big golden scissors might help that kind of discussion. To learn more about Jordan Peele, check out his next show on YouTube. Strange city and be excited for his blurred area restart in a few days.