SKIN TIGHT TENSION
He's staring right at you. What is going through his mind, why is he holding this gaze, what perhaps ... is his plan? Another joins him, staring. Then another. Now a group. All looking only at you.
It's this inherent fear of the unknown that drives 'Get Out', the psychological thriller that is already spear-heading the Best Of's lists for 2017. And it's not just the fear of the unknown that powers this piece of cinema, but the unknown that rests in the minds of humanity, and what's it's capable of.
The debut work from Jordan Peele, an entertainer better known for his laugh-out-loud writing and acting as part of the comedic duo Key & Peele, "Get Out" exhumes the fundamentals of horror and suspense that have lay relatively dormant since the heydays of Hitchcock and Kubrick.
Peele proves as the true star of the work. His mastery over thriller tropes and the crafting of this deeply unsettling world is astonishing for a inaugural piece of directing, let alone one renowned for comedic acting. Not that doom and gloom permeates the film either, as Peele cleverly picks the moments for hilarious dialogue and moments that are so absurd in a disconcerting kind of way, that you can only snigger.
What he weaves is a story that at a basic level is the examination of today's 'black & white' America. Racial tensions are the foundations for the core narrative, but never feel truly explicit or bluntly showcased to the audience. It is rather through the lens of our protagonist, Chris (Kaluuya) ,that we see how uncomfortable the Caucasian liberal and left-wing supporters can appear in their desire to show just 'how cool' they are with African-American culture and people.
Of course, some credit must be given to the cast. Kaluuya delivers a strong performance as a character merely attempting to rationalise an immensely disquieting situation without leaping to ideas of slavery or racial subjugation.. It's impossible not to be wrapped up in the confusion of the whole narrative, where our scope via Chris struggles to understand what *really* is going on and perhaps even worse, what is planned for him.
With a score that teeters in the territory of cardiac arrest, a beautifully captured cinematography amongst the American forestland and decadent yet haunting set design, Peele and his production team build a world that feels at some points inconceivable, yet undeniably familiar.
But it all comes down to the looks. Momentary glances at Chris. Or long, ungodly-like stares that have no regard for courtesy. And at the heart of all, within the underlying horrors, unspoken racial tensions or unrelenting suspense, is that original fear. The fear of what someone is planning behind their stare.