“Horror Noire: a history of black horror” exposed us that the rise of critical films with the racial gap is a cinema that vindicates. This could not have a better ambassador than Jordan Peele, director known for “Get out”, “Us” and now “Nope”. All characterized by their speech, suspense and comedy framed in the horror genre.
He is a filmmaker who does not underestimate us, although outsiders do so with his films just because he comes from a genre that is currently gimmicky, predictable and lacking in novelties. It is a brief filmography with manners to convey his message and not turn his tapes into advertisements, as happened with Spike Lee’s unfortunate “Da 5 bloods”.
Along with Ari Aster and Robert Eggers, Jordan Peele is part of that litter of young filmmakers who revitalized horror movies. However, no one would have imagined that one of these would be the creator of the comedy “Key & Peele”, in which he reaffirmed his vocation as a humorist to address ethnic stereotypes and racial problems.
When he made the leap from comedy to horror, the filmmaker did not create a subgenre, tributes (“The Shack of Terror”), performances (“Zombieland”) or mutations (“Scary movie”). In fact, he cleverly employed comic relief as another hallmark of his stories, “Get Out” and “Us.” The merit of his originality lay in the harmonious coexistence of scares and laughter.
In the movie “Get out” (2017), we witnessed how a white supremacist family subjugates their daughter’s boyfriend. She was the smart bet of an outsider in the film industry who conquered the box office and also the prestige at the Oscars. He was nominated for four categories: best picture, director, actor and original screenplay, taking home the latter.
After this bombshell, Peele brought “Us” (2019) to tell us how a family was attacked by identical doubles. While the protagonists fight for their lives, the director denounced classism and marginalization in the United States. As for viewers… they end up struggling to process one of the most convoluted narrative twists.
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