Us Jordan Peele | Review


Published on Apr 05, 2019


After the success of Escape – to Get Out is gone, along with Jason Blum producing for Spike Lee's film success BlackKklansman, arrived with merit from the Cannes film Festival up for an Oscar 2019: even without considering the arrival of the forthcoming reboot of the historic television series To the Borders of Reality, this would be enough to cement the status of Jordan Peele in the panorama of the hollywood contemporary, with good reason considers him to be a new beacon to follow through the film genre.

With his second feature film Us, the author succeeds in the difficult task of proving that it was and, above all, to consecrate himself, setting up a horror from the system film excellent idea, allegorical, interpretations of actors and technical achievement, able to have fun and entertain through a clever use of the scaffolding of the voltage of the work hitchcockiana and those sophisticated in the horror mold romeriano (Night of The Living Dead and Land of The Dead are works of art, fundamental for the understanding of Us).

Set a bit to our days and a little in 1978 along the iconic coast of Northern California, the film stars the Oscar-winning actress Lupita nyong'o in the role of Adelaide Wilson, a woman who returns to her childhood home on the sea with her husband, Gabe (the Winston Duke, Black Panther and Avengers: Infinity War), and the two children to spend the summer holidays. Tormented by a trauma still unsolved that occurred in the period of childhood, right on the sand of the beach near that house, Adelaide begins to notice a series of disturbing coincidences that lead to the conviction of the imminent materialization of his fears hidden.

And after a busy day spent at the beach with their friends (among which stands out the Elisabeth Moss), Adelaide and her family in the return home they are greeted on the driveway by the silhouettes of four figures holding hands, only to discover that the mysterious assailants are in fact four identical copies of themselves.

Even more politically motivated and far-sighted of the previous film, We have a history of classism and social redemption by the implications psicanalitici and surreal, a cry for help, which cries out for the weaker and the poorer, who delves into the depths of society in search of the origins of the disruption to cultural, economic and social, and he eventually found them all in the differences of social stratification. It is a film that looks at the relationship between good and evil with the look of so much unprecedented as lit, highlighting how ultimately, the geopolitical context in which one grows to shape the nature of the individual, who was not born neither good nor evil, but ready to be influenced by what surrounds it.

A mounting exceptional marks the rhythm of a story expanded in the first act and then more and more frantic, and it runs at breakneck speed towards a final narrated through a storytelling by applause. Us is the ultimate proof that the movie Jordan Peele was not just an isolated case, but a reality crudissima and more necessary than ever, politically and artistically.

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