The end of "we", explained

I'm always trying to piece together the twist end of We? Let us explain.

Jordan Peele does not fear his ambitions in We, the sequel to the scriptwriter-director of the Oscar-winning film Come out. Although perhaps not as well-taught as this social thriller, this new American nightmare is full of ideas, unexpected twists, and intelligent signs of the pop culture of the 1980s that Peele grew up with. It's a sneaky, sneaky and sneaky movie beast. And it is never more troubling than in its crazy ending – a final act that casts a pall of the expectations of the genre and delivers a haunting political commentary.

Warning: the main spoilers on the end of We below.

To come to an end, We turn back and reframe its killer configuration. In the extended opening, which is a flashback – a feature used throughout the film – we look at a girl in 1986 with her two parents chatting intensely in the theme park of Santa Cruz Walk. She walks away from her father, who plays absentmindedly playing Whack-a-Mole, and settles into a room filled with funhouse mirrors, sheltered from a rainstorm. She finds there not only a distorted image, but another girl who looks like him, who turns to face him with a sublimely terrifying smile (the phenomenal music of the film nicely highlights the most sinister moments). Party for 15 minutes, Adelaide returns to her parents, agitated and mute, and is diagnosed later with PTSD.

Nowadays, Adelaide Wilson (Lupita Nyong'o in a complex and mercenary show), grown up, shows up with her family in their vacation home on the same waterfront. She is naturally nervous as she relaxes by from the same sidewalk and that his son disappears briefly. Soon, their home is overrun with what appears to be demonic versions of each family member, dressed in a red jumpsuit and tied to each other.

It's pretty scary, but We Deploys a much thornier principle during its two hours. Escaping and gradually killing their monsters-clones – without the help of the police who never appeared, a clearly satirical reference to the way blacks are treated by the authorities – the family goes to their white friends "(Elisabeth Moss and Tim Heidecker) house.Instead of protection, they are met by more monsters-clones from the other family trying to commit suicide.

Luckily, the Wilsons were clever enough to crack their doppelganger croaks, and they managed to hit the road. At this point We broadens its objectives a little: they discover an enormous mbad of clones dressed in red combinations, hand in hand, forming a snaking border around the seaside town.

Peele throws us a longer flashback (it becomes a bit exaggerated) to explain the last brutal turn: we discover that this day of rain of 1986, Adelaide did not manage to flee his clone but rather was led in the underground tunnels . where all the clones reside. (A title card at the beginning of We informs us that there are thousands of kilometers of tunnels hidden under the United States, which is more or less true!) In this underground reality, the government has created a double human called "Tethers" as part of a sloppy experiment to control the population above the ground, but the Tethers must share a soul with their copies – never achieve complete autonomy.

Until at least, at least, the double of Adelaide Red imprisoned young Adelaide in an underground underground, several decades ago, and replaced it in the wider world, thus avoiding any discussion and diagnosis post-traumatic stress that resulted. Right here, We becomes, well, confusing and confused. The Adelaide we know is actually the Tether. During the climax, "Red" (which is actually the real Adelaide, but we will continue to refer to it by the previous names for the sake of clarity) removes the son of Adelaide, Jason (all is clear).

Adelaide then descends into the underworld via Stanley Kubrick's highly inspired escalator in the mirror room. She faces a duel with Red, who launches a monologue on how she was chosen to lead the Tethered Revolution. Adelaide kills Red and saves Jason and the family goes free. Adelaide briefly raises a threatening smile towards Jason in the car and suggests to him to know the true origins of his mother (continuation alert?). (And what about Adelaide's husband, Gabe?) In a possible Easter egg, he tells his children, "Your mother knows what to do.") Wide shot reveals Tether from across the country join their hands in their uprising, reflecting the advertising of the 80s for Hands Across America that we saw during the first scenes of the film.

The problem with this end is that Adelaide, who has been lying for most of her life, seems in most parts of the film totally ignorant of what is really going on. Her ambivalence could be interpreted as the secret of her life, or maybe she simply forgot who she really was? But if one of these things is true, why the real Adelaide aka Red (who speaks in a weird groan despite being an eight-year-old girl before being chained speaks perfectly normally) never confronts her imposter Adelaide on forced incarceration in the tunnels? Most people would be pretty upset about it and want revenge! Or, you know, at least one conversation.

In its momentum of exposure during the final, We both are bogged down in the details of his universe and jump over gaping holes. That's good, it's good: it's a quality masterpiece. get outit is better for his enlarged thoughts, which far exceed the racial satire of his predecessor. Peele clearly wants to send a message about the tough political climate in the United States, in which more and more like-minded communities contribute to polarization, and people can ignore how other half-lives live (I thought it would have been too flattering, the title of the film could easily have been U.S. against them). There is also a religious dimension to this turn of events: the Bible Jeremiah 11:11 glanced at a sign on the sidewalk, tells us: "That is why, so says the Lord: behold, I will make them suffer evil which they will not escape, and even s & # 39; They shout at me, I do not listen to them. "

Peele insists that we remove our supposed enemies – chained by the nationality, the personality and the underlying belief of our democracy in a Commonwealth – to our detriment. We The invaded family asks the invaded family to answer, "What are you?" Says Red, "We are Americans." What it means to be American, sometimes powerful, sometimes discouraging, and even more importantly, what it means to deny this title to compatriots who lose sight of is a rich theme for a horror film. And it's a We drove home with a disturbing force.