Review: You did not see Jordan Peele until you saw him twice

Given his obsession with duality and his interlocutors, it is appropriate that Jordan Peele We – the sequel given by the director to the Oscar-winning film of 2017 get out – is not a movie, but two.

There is the version you will meet the first time, which is basically a bizarro horror film invasion at home with some much better left-for-nothing curves, and then there is the version you encounter on second reading . Just like Peele's previous film, the layers of We do not really reveal yourself until you understand the game in progress, then … the symbols start to lock. The details that seemed innocuous the first time jump off the screen. What you thought was disposable dialogue lines is now loaded with meaning. We are talking here about higher-level cinema, the kind of complex and brilliantly realized vision that we encounter in a multiplex, what, perhaps, a few times a year? If we are lucky? And now, Peele has done it two times in a row? It's a horror story that happens in real time, dear friends, and I hope you're all attentive.

Now here's the most difficult part: our best conversations on We to be before us. There is very little that I can tell you about the pre-release of this movie (I mean, I badume I could spoil everything, but anyone who wants to do this should surely be beaten to death where he stands; no jury would condemn us), only the smallest of facts. If it were up to me to decide, that is about where this review will end, and I make an unqualified recommendation to We and tell you to meet here in about a week to discuss the film in the way it was supposed to be discussed. Unfortunately, my contract stipulates that I provide you a little more than that, so let's go. Just be badured that I will not spoil anything for you.

For the majority, We Father Gabe (Winston Duke), his mother Adelaide (Lupita Nyong & # 39; o), his daughter Zora (Shahadi Wright Joseph) and his son Jason (Evan Alex) are family members. They arrive in a cottage by the sea to spend a relaxing weekend. While visiting the nearby Santa Cruz pier, Jason meets a strange man who stands near the shore, blood flowing from a gloved hand. Later in the evening, while the family is preparing to go to bed, another family of four arrives. In appearance, they are true copies of the Wilson family. Any other way? Not really. This family of defenders is furious and violent. Only one of them speaks. And soon, they explained why they arrived: eliminate Wilson and take their place.

Virtually everything that happens from that moment has to be considered, in one way or another, like a spoiler. So leave the setup there and get down to the practical details of this case, all of which can be discussed safely. To begin, We is a beautiful film, beautifully shot (by the director of photography Mike Gioulakis) and filled with rich colors and memorable places. Peele proves once again his ability to establish geography in these places before each new play staged – a process that keeps things clear for the audience while also allowing him to subvert our expectations – and he's not afraid to let things go a little longer than necessary in order to escalate the tension.

The tension is not the only thing working on a gradient We. Every twenty minutes or so, Peele's script adds new information to our tours and suddenly, the narration gains a notch, a clever structuring that creates the effect of an ever-expanding film. It's like tricks: when you think you have a clear idea of ​​the situation, something other happens and the game changes. This continues until the very last scene, playing the audience like a violin all the way through.

For all the merit that Peele is going to have here (all, yes, it is quite deserved), so much merit should be given to the film 's incredible cast, which is excellent overall. Nyong's is starring here (in fact, she deserves to remember the upcoming Oscars race next year), but Duke is also doing a Homer Simpson Everyman thing that absolutely kill (his first scenes, which find him dad, are very funny). Tim Heidecker and Elisabeth Moss also make the most of their roles, a couple whose presence in the movie comments slyly on the type of characters that the genre of horror might normally play with minority actors.

There is so much more that I want to talk about. The mythology created by Peele. The attention related to the details. The multiple layers of the film, one of which seems to be a burning criticism of modern America. The meticulous distribution of the indices. The "Good Vibrations" needle drop and the side shot I'm already ready to call "iconic". The jumps that the film asks the audience to do, and whether or not the general public is likely to do so. We is an absolute feast For horror fans, a film we will spend over the next two years to dissect and decode and make occasional references, just as we do with a number of other clbadics of the genre intelligent. These conversations are going to be a blast, and I'm looking forward to having them with you.

For now, go see We. Then review it so that you can say that you have really seen.

I promise you'll know what I mean.