The amusement Park on the Promenade the California coastal town of Santa Cruz has brought in a horror film to a modest fame. In the mid-Eighties, drove here in Joel Schumacher’s Brat-Pack classic “the Lost Boys” a couple of vampires (led by “Bad Boy” Kiefer Sutherland) up to mischief. The cult film has left in the history of cinema, hardly lasting impression, when Director Jordan Peele, returns to “We”, two years after his breakthrough with “Get Out” to this native American recreation attraction.
“Find Yourself” is written on the entrance of the Ghost train, in which the six-year-old Adelaide lost. What they discovered then, but in the house of mirrors, brings your the language: a girl who looks just like you. The parents find their child, mute and traumatized. It is the year 1986. The Nation and the nation-wide charity action “Hands across America,” a human chain against Hunger and poverty, while an underground colony of double-goers, the prepared infiltration of the population.
Peele would have been able to turn his screenplay Oscar for “Get Out”, released in the USA, the 50-Times its cost, everything from a super hero movie about “BlackKklansman” (with the instead, Spike Lee is an Oscar winning) up to the sequel to his horror satire about the positive racism of liberal America. But he wanted to test with small independent productions on the border between Horror and social Comedy. “Get Out” was similar to “Black Panther” anchored a multi-layered reference catalog of the pop culture.
the comedian Peele and his Cabinet of curiosities of racist stereotypes in Obama’s America just landed in the horror genre, it was only right. However, the game with horror motifs is more than a style. How serious is he with the Genre, the virtuoso vignettes in “Get Out” to recognize, in them also his Background in Sketch Comedy (among other things, as an Obama impersonator). Peele had alerted his Fans early on that you should not expect a mere continuation.
by “We”, is he casting out the horror plot any subtlety, at the same time its social symbolism is ambiguous, cryptic. The original title is “U.S.” marked ambivalence. It refers to an ominous “We” (as against a threatening “Other”), as well as the equally identity-United States. Family against society. The Zombie Apocalypse has lost since George Romero’s classic “night of The living dead” (1968), nothing of its political explosiveness.
Black middle-class family is faced with evil Itself
30 years after the incident in the Ghost train Ady (Lupita Nyong’o) returning with your family – your child-headed man (Winston Duke, as Nyong’o with Marvel’s Wakanda fame), the pubescent daughter Zora (Shahadi Wright Joseph) and younger son Jason (Evan, Alex)-in the house of the parents. A normal black middle-class family, is faced one Night with her evil Self.
Four doubles in red Overalls and armed with scissors – they call themselves “shadows” – to penetrate forcibly into the house. Your visit proves to be a deadly Plan: they want to occupy the places of their originals. “Who are you?”, asks Zora shocked. “We are Americans,” says the slightly disheveled image of her mother with a severely asthmatic voice.
The sentence still sounds, as the “We” has long since switched to Survival mode. There is in the Film, two Central locations, the work itself, such as mirror images: the house of ady’s family, and the fully computerized luxury domicile (Alexa listen here to the name of Ophelia), the friend, the Myers with their two Teenage daughters – a couple, great as neureiches Asshole: Elisabeth Moss and Tim Heidecker.
Intricate entanglement of horror motifs, and social symbolism
When the hell opens up, finally, proves that Peele, again its competence as a Horror Auteur. He dominated the bloody slaughter, as well as the perfect Timing of old-fashioned jump scares, including a cathartic punch lines: in the Middle of the massacre in the Myers-Villa Ophelia changes to the Spotify Playlist of the “Good Vibrations” to “Fuck the Police”. Mike Gioulakis was already in David Robert Mitchell’s minimalist Coming-of-Age horror film “It Follows” behind the camera, in the “We” he has decided not to Gimmicks.
Intricate is the Subtext of Peele movie, the horror movie motifs and social symbolism rather side by side, to refer instead to each other. This binding interaction was the real highlight of “Get Out”: that American racism is, in principle, only as a horror film tell. Skin color plays in the “We” no longer – apart from the fact that the final girl is this time an African-American. The only question is: Original or DoppelgangeR?
Perhaps the first real Post-racial-horror-film
riding the motif of The DoppelgangeR, and the idea of a parallel society that lives in a tunnel system and their participation in society with violence, have a variety of historical and genre archetypes: the metaphor of the Underground Railroad, a secret network in the 19th century. Century, the slaves are allowed to flee to the North, on W. E. B. Du Bois’ theory of “Double Consciousness”, according to which every Black must live in America with a schizophrenic identity between self-image and external perception, up to the Morlocks in H. G. Wells novel “The time machine”.
Peele pulls in “We”, unlike with “Get Out”, the conflict lines are no longer along the skin color and ethnic origin, but to social privileges. Also, Romero’s Zombies were not a bloodthirsty Monster, they embodied the end of the 60s a new lumpen proletariat. This metaphor is in America, Donald Trump, in which economic redistribution is practiced from the bottom up so shamelessly as never before, the diverse connection capable: no one needs to feel Peele end-time scenario is excluded. In this respect, one could refer to “We” as the first real Post-racial-horror movie. Reassuring nothing.
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horror Comedy “Get Out” Incorrect departure
Andreas Busche
In 22 cinemas. OmU: International, Odeon; OV: Alhambra, Neukölln Arcaden, CineStar, Delphi Lux, rolling mountain