The mystery at the center of We That's the nature of the "attached" doppelgängers who sue Adelaide Wilson (Lupita Nyong'o) and her family. They look almost identical, except for far more malicious behaviors and uniform red jumpsuits, golden sandals and scissors. During most of the film, we ask ourselves: who are they and what do they want?
Gradually, the answers take shape, but even once the smoke dissipated and the dust settled, the director Jordan Peele did not finish to take his public in stroll. He has more in mind than to make you question the plot.
[[[[Ed. Note: major spoilers for We to follow.]
For a moment of happiness at the end of We, the Wilson family seems to be totally out of the woods. Their doppelgängers have been defeated and they are in a car driving far, far away from the line of ties that stretches across America. The young son of Adelaide, Jason (Evan Alex), however felt that something is wrong and look with suspicion on his mother on the other side of the car. Whenever he has witnessed his return to violence, his behavior is cruelly disturbing. A guttural breath here, an animal cry over there; everything is not as it seems.
Indeed, while Adelaide leads, the film comes again on this fatal night on the sidewalk where she met his double. This time, we see that "the shadow" got the better of "real" Adelaide, letting her live with the bindings while assuming her life on the surface. The Adelaide driving the car – the Adelaide we aspire to – is the doppelganger. The call comes from inside the house from the beginning.
Peele takes care not to turn the attachés into villains, even if they want to murder the protagonists of the film. Doppelgänger, Adelaide, explains in an early scene that his wickedness comes from the way his agency was totally dismantled by the hope that his life would be exactly that of Adelaide and the inhuman conditions suffered by the attachés of their underground laboratory.
This last twist brings a whole new twist to this knowledge, in part because Adelaide tied had managed to escape this life and she knew that in so doing, she was condemning the true Adelaide to nightmarish life that she had left. It makes the film understand that our film is our worst enemy – the thing to come for what we thought was Adelaide was Adelaide all the time.
In addition, Adelaide's report reveals how badly we treat people we perceive as "others" in some way, even if, in reality, they are (just a little less literally) like us. Despite being attached, the Adelaide we follow throughout the film fiercely protects her family and seems to truly care about the children's welfare from her double – she behaves no less like a hero. horror film, including extreme measures to escape his old life.
The notion of such prejudices and turning a blind eye is put in an explicit context in contemporary American society; "This film is about this country," said Peele at the film premiere at SXSW. One of Red's first responses to Adelaide, is to say "We are Americans". The use of the Hands Across America – 1986 campaign to form a human chain across the country to raise money to help people in poverty – as a means of parcel of land, also places the film in a given time zone and adds to the film's argument that one must ignore complicity in circumstances that worsen for marginalized people. Hands Across America raised $ 34 million to fight hunger and homelessness. After operating costs, less than half ($ 15 million) was distributed to those in need.
At a more cerebral level, the reference to the Bible verses in the film (Jeremiah 11:11) could also be considered significant, beyond the numbers being double and the verse in question sufficiently disturbing. Its origin, the book of Jeremiah, deals with the exile of the Jewish people in Babylon, in what may be a corollary to the circumstances of the attaches. (It is more likely that Jeremiah 11:11 was the most appropriate 11:11 in a biblical text, but as Peele repeatedly reiterated that We is full of references and meaning, leave no stone unturned.)
Adelaide's real-life revelation also distorts the monster's horror film that reappears in the end after being allegedly defeated, because the question of who the real monster is – if any – has been thrown into doubt . Throughout the film, Peele overcomes several horrors: the terror of a home invasion, which plays on the fear of being attacked at the place where one feels the most in. security, is amplified by the fact that the attackers are copies of the characters; the power of laughter to dispel fear is shattered and turned into a weapon through the use of humor everywhere by Peele; and daylight is as scary as darkness We'Final is held in daylight. But this is the last twist that serves as icing on the cake and that connects the entire film.
There will be frustrated viewers that We does not fully explain how the attachés were born or survived in hiding, what is the ultimate plan behind the re-enactment of Hands Across America, or even where the Wilson would go at the end. But that's not exactly what Peele is trying to do. We makes it impossible to point the finger at villains and heroes, and the filmmaker questions our instinct. When the hero turns out to be the supposed monster, he is also the hero we thought to follow and both are justified in their actions, which forces us to continue the interrogation not on the story, but on us -Same.