Get out is written and directed by African-American comedian Jordan Peel, who uses novel, funny, and fearless methods to touch on sensitive issues such as interracial emotional relationships, "reformed" races, suburban racism, and police brutality.
Interestingly, the film, which deals with race issues, also broke a Hollywood record: Jordan Peel became the first black writer and director to make a film that grossed more than $100 million.
The film is full of provocations, opening with a young black man walking on a suburban street. He was on the phone, but a white sports car passed him, quickly turned around and followed him step by step. The young black man noticed this and decided to turn around and walk backwards, saying, "I'll just walk my way, don't get into trouble."
Turning around, the sports car stopped on the side of the road, but the driver was gone, and the next second he was attacked by someone wearing a mask. It is reminiscent of the 2012 shooting of Martin, a 17-year-old African-American teenager in a white neighborhood in Florida. Walking in the white community of the United States, it is generally considered how safe it is, how to know that it is not safe, and how much must be determined by the color of the pedestrians.
Chris was very anxious about this, although the moment he met his girlfriend's parents, everything was warm and friendly, and there seemed to be no black and white in the eyes of the two elders.
Director Jordan Peele's camera is very interesting, he uses a long shot to shoot Ruth's parents see Chris for the first time, and the parents' greeting and hugging seem to be perfect and reliable.
But as the camera gets closer, the more difficult it is to sit still. Why was the door to the basement firmly locked? Why are the maids and gardeners both black and seem to be smiling and not smiling?
The answers to the above questions will be answered one by one in the plot of the later part of the movie. Ruth's brother's ill will is the most honorable hostility.
Behind the bright smiles of the mother and maid, it is even more devious and aggressive, and unconsciously, Chris has been surrounded by seemingly inadvertent aggression and offense.
Gradually, viewers will find that Ruth has almost nothing to say with her boyfriend except for firmly defending the rights of her black boyfriend and attacking racial discrimination.
On the drive back to her parents' house, after an accident that hits a deer, a white police officer asks to see Chris's driver's license, and Ruth overreacts to protect her boyfriend.
Chris himself is accustomed to this, and naturally he is no stranger to how to deal with differential treatment. But Chris, in Ruth's parents' house, on the one hand politely accepts his fate, on the other hand, he is gradually unhappy because he sits in the stereotype of black people trapped by white people.
Breaking Bad implies another element of horror that is somewhat similar to the two thrillers Of Lost Babies and Replica Wife (1975 edition).
Why did the black man who was attacked at the beginning of the movie end up meeting Chris at the party and becoming another person?
In fact, the end hides the solution of the last plot, this sick family, from the heroine began to look for available black people on the Internet, the younger brother is responsible for killing, the mother is responsible for hypnosis, the father is responsible for surgery, and the black person has become a shell occupied by white people.
It's just that there seems to be a soul struggle in the shell, so after seeing the flash, he shouts at Chris out of control, "Get Out", with the white man's angry words "Get out", and the black man reminds Chris to "run".
When the black gardener is running fast in the middle of the night, directly at Chris, it is actually implied that the track and field athlete mentioned in the previous plot beat the grandfather who was born as a runner, so it can be understood that the gardener is the grandfather; and the grandmother hides in the maid, from the maid to look in the mirror three times and twice, the normal servant why should care about dressing, you can also guess the clue.
The family is pathological, a kind of self-rationalizing hypnotic thinking, even exaggerating chris as a gift, playing bingo to see which of the white guests involved in the event can get it.
In the film, Chris is forced to escape from reality through hypnosis and then falls into a "sinking place". Visually, the sinking is reminiscent of the 2013 sci-fi thriller art film Under the Skin.
But in "Escape from Desperate Town," the scene is even more poignantly political: Chris is emboldened by white supremacy.
At the end of the film, director Jordan Peel is extremely superb and once again makes the audience's heart beat, and it is full of irony. The scene is fleeing for life and fighting, the police car suddenly arrives, at this moment, how many viewers will intuitively think that whether it is right or wrong, the appearance of the police will make "black-skinned Chris" finished?
Without sound or explanation, Jordan Peel offered a harsh critique of society.