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You know that you are in the hands of a born filmmaker, when you can feel yourself shot, as by invisible forces, all at once, in the diabolical design of the filmmaker. ;a movie. This is the sensation caused by Jordan Peele We, which begins with a sequence so cleverly shot, cut and orchestrated that you can only submit to the internal and infernal logic of its construction. On the promenade of Santa Cruz around 1986, illuminated by a glow of carnival, a little girl (Madison Curry) gets lost on the side of her parents. She is attracted, by signs and coincidence, to this permanent symbol of fractured identity, the hall of mirrors. What she finds inside is another type of movie monster: a reflection made flesh, a phantasmagorical ghostly image of oneself. It is the audience, however, who is actually introduced into the theater. And at the end of this disturbing prologue, surrounded by a TV with rabbit ears and two bunny ears, you're ready to go wherever the movie takes you.
WeIn the end, he is not as intelligent or daring as Peele's latest film, his Oscar stint, which came out of the sketch comedy to reach the top echelons of Hollywood. get out, remember, also seized his audience from the beginning. he was, as it is said, a difficult act to follow: a supernatural, slow-burning thriller that was in reality an overwhelming satire on the way in which racism survives and develops, even in the most comfortable and liberal enclaves. Although barely devoid of ideas (whether to tell jokes or staging fears, Peele remains an incisive social critic), We operates in a less directly subversive mode. And yet, if Peele takes his turn of the sandbox victory – to have a good time without making big claims – he will have enough panache to continue to beat the competition. He made a primo popcorn slasher: fun, fun, stylish even when you're aiming for the fear-jump reflexes of the same crowd of multiplexes that engulf get out.
B +
throw
Lupita Nyong & # 39; o, Duke Winston, Joseph Shahadi Wright, Evan Alex, Elisabeth Moss, Tim Heidecker, Madison Curry
Availability
Theaters everywhere on March 22
The little girl from the opening scene grows up to become Adelaide Wilson (Lupita Nyong & # 39; o). She succeeds in her professional life and is satisfied with her personal life, but remains haunted, even if far away, by memories of this face in the same way. in front of the fair. Taking a leap into the present, the film follows her on a summer getaway, traveling with her beefy husband, Gabe (Nyong'o & # 39; s) Black Panther costar Winston Duke, nailing hilariously daddy-joke energy), and their two children, the teenage daughter Zora (Shahadi Wright Joseph) and the premature son of Jason (Evan Alex), in a cabin on the California coast . The weather is fine, but Adelaide can not shake off a bad feeling caused by curious omens. And much faster than get outPeele confirms the worst fears of his heroine with the sudden arrival of bizarro Wilsons: hostile doppelgängers of each family member, dressed in blood-red scissors and waving gold.
These intrusive clones, played by the same actors as their counterparts, are nonverbal, with the exception of Adélaïde's double childhood, all adults and speaking in a ghostly rasp. "We are Americans," she hisses when her other terrified man asks who he is or who he is. Add to this line an alternative reading of the title in capital letters, and it becomes obvious that Peele has something to say about the national character – the ugly truth about who we are as a country, buried deep in the earth like insects who squirm the beginning of David Lynch Blue velvet. It's a good time for a little collective and cultural reflection. But the metaphor does not quite follow. Do these evil twins represent our darkest impulses, our forgotten past or a vague combination of both?
Such an examination makes We few favors. It is better appreciated viscerally, as an inventive response, often virtuoso, to the horror of home invasion. Working with Director of Photography Mike Gioulakis, who made the frame a source of terror for the brilliant It follows, Peele offers an effective suspense game, exploiting space in the foreground and background, locking us into the characters' vision under the tunnel, following the enemy's movement around the perimeter of the house while gliding long time. It even makes singing again the most hoarse horror stuff: at the moment a massacre will occur under the timeless effect of "Good Vibrations", you will wonder if he audition to direct the next movie. foreigners after. Although maybe Yell This is the best point of comparison: the balance of tones, the flicker between laughter and fear, would make Wes Craven proud. Peele, however, directs chaos to his own malevolent orchestra, even though We-as get out before that – is more fun than ever.
It's a director and The film of an actor ends up obtaining an expressive work of the whole of the casting, most doing double meaning. (Apart from the center's nuclear unit, Elisabeth Moss and Tim Heidecker, like another couple in the area, also make a volatile impression.) But Peele counts the most for Nyong's, during his turn by force yin-yang, to sell half-digested themes dueling dualities. The film ends up moving from the irrational to the concrete, giving an explanation that seems less than necessary, in addition to not giving much meaning. But there is at least one emotional logic in his culminating shadowboxing – provided by Nyong'o and the director dramatically orchestrating his diametric opposition dance. We proves, at the very least, that Peele has become a blockbuster visionary, totally master of his art. It is a privilege to return to the theater of his imagination.
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