Get out

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Movie
German title Get out
Original title Get out
GetOutFilm.jpg
Country of production United States
original language English
Publishing year 2017
length 104 minutes
Age rating FSK 16
JMK 14
Rod
Director Jordan Peele
script Jordan Peele
production Jason Blum ,
Edward H. Hamm Jr. ,
Sean McKittrick
music Michael Abels
camera Toby Oliver
cut Gregory Plotkin
occupation

Get Out (Engl. For "Go away") is an American feature film from Jordan Peele from the year 2017 . The satirical mystery - horror thriller with comedic elements based on an original screenplay by director. It tells of a young black man (played by Daniel Kaluuya ) who and his white girlfriend ( Allison Williams ) make an inaugural visit to their parents. He begins to question the initially friendly and open-minded nature of the white community with its black servants and comes across a horrific secret. The film, which thematically picks up on everyday racism in the USA, celebrated its world premiere on January 23, 2017 as part of the Sundance Film Festival . Get Out was released in US cinemas on February 24, 2017 and in German cinemas on May 4, 2017.

At the 2018 Academy Awards , Get Out received the award for the best original screenplay. The film was also nominated for Best Picture , Best Director and Kaluuya for Best Actor . In addition, Get Out has received numerous other prizes.

action

The African-American New York photographer Chris Washington and his white friend Rose Armitage, who have been together for around five months, visit Rose's family for the first time on their remote country estate: father Dean, neurosurgeon, mother Missy, psychiatrist, and brother Jeremy, medical student. Rose confesses to Chris that she has not yet told her about his skin color, but adds reassuringly that none of them are racist. The friendly reception seems to confirm this. But soon you start to put pressure on Chris. Dean urges him to quit smoking; Missy is ready to do this immediately with her proven hypnosis technique ; drunk Jeremy wants to provoke a showdown by praising Chris' athleticism; Someone in the house repeatedly cuts the charging cable on Chris' smartphone - thereby endangering his only contact with the outside world, especially his best friend, TSA employee Rod, who warned him about this visit.

During the night, Chris secretly gets up to smoke outside. The strange behavior of the housemaid Georgina and the gardener Walter - both Afro-American and both, according to Dean, already service staff from his parents - worry him so much that he returns to the house. Missy stops him and asks him to take a seat in the armchair across from her. Constantly jingling a spoon in her teacup, she evokes the memory of the night when his mother died in a hit-and-run accident and he was unable to act while waiting for her, paralyzed - like now. When he wakes up, Chris thinks it's a nightmare. However, when Walter apologizes to him for the nocturnal disturbance and he notices himself aversion to cigarettes, he believes that Missy actually wanted to cure him from smoking by hypnosis.

In the morning, numerous other guests arrive, mostly old friends of Rose's grandfather, who traditionally meet here once a year. Chris is introduced to almost all of the elderly white couples and appraised strangely by them. Relieved, he seeks the proximity of the only African American, Logan King, who is accompanying a significantly older white woman. Chris even thinks he knows him, but his conservative clothes irritate him as well as his unnatural behavior; he doesn't even know what to do with the ghetto fist . When Chris tries to take a picture of him with his smartphone unnoticed, the flash triggers, whereupon Logan's nose bleeds and he goes for Chris with the scream “Get away!”. He and Rose go for a walk, as a result of which they decide to leave. In her absence, Dean runs an auction disguised as bingo , and the winner is Jim Hudson, a blind, wheelchair-bound gallery owner - the only white guest with whom Chris has had a substantial conversation before.

While he's packing, Chris sends the photo of Logan to Rod, who identifies him as Andre Hayworth from their "neighborhood". Rod reiterates his fears that Chris fell into the hands of whites who are brainwashing blacks to keep them as sex slaves. When the connection to Chris is broken and Rod comes across a missing person report from Andre, he turns to the criminal investigation department, but is laughed at for his thesis. Meanwhile, Chris has found explosive photos of Rose showing her with ex-lovers, all of them black, including Logan King and the domestic servants Walter and Georgina. He urges Rose to leave immediately, but the rest of the family hold him back. When Rose finally shows her true colors and it turns out that she had lured him here, he tries to flee. Paralyzed by Missy's clinking spoon, he cannot counter Jeremy's attack, falls on the back of the head and loses consciousness.

In a windowless room he comes to, tied to an armchair. In front of him is a television that starts a video shortly after he wakes up: It shows Rose's grandfather explaining what goes on in the house: Old and disabled relatives and acquaintances are helped to increase their lifespan and quality by raising their awareness The body of a kidnapped young, healthy black man is transplanted . In Chris' case, a "brain swap" with the blind gallery owner is supposed to take place: the gallery owner should be able to see again, while Chris, on the other hand, as a victim for the rest of his life, should dawn "in the sunken area".

Chris stuffs the fibers of the chair's filler material into his ears so as not to hear the spoon jingling that regularly comes from the television and to stay conscious. When Jeremy picks him up for the procedure, Chris is not paralyzed and knocks him down. On the further escape he kills Dean, Missy and the reappearing Jeremy. Chris gets in his car and tries to contact the police. Distracted by this, he accidentally hits Georgina. Chris pauses, realizing the special circumstances surrounding his mother's accidental death, loads her into the car and tries to escape. This is noticed by Rose, who is currently looking for more black men in her room to be the next victims on the Internet. Armed with a rifle, she steps in front of the house. Georgina, into whom the consciousness of Rose's grandmother was transplanted, suddenly wakes up, attacks Chris and dies in the resulting accident.

Meanwhile, Rose has come within range and shoots Chris, but without hitting him. Suddenly Walter shows up, into whom the grandfather's ego was transplanted, and attacks Chris. He pulls out his smartphone and triggers the camera with flash, whereupon Walter - like Logan before - is torn from the "sunken area" and regains control of his body. He tells Rose he wants to shoot Chris. She hands him the rifle, but he shoots at her and then at himself. Chris tries to strangle the badly injured Rose, but finally lets go of her. When a supposed police vehicle shows up, Chris tries to surrender, but it is his friend Rod who has come to save him. The two drive away, leaving Rose on the road.

Film analysis

Movie title

The title of the film is derived from a sentence that is spoken exactly twice in one scene. Logan yells at Chris during the garden party at “Get Out”, in the German dubbed version “Hau ab”. The words are to be understood as a warning to Chris, and express the viewer's thoughts, according to Will Leitch of The New Republic , to want to warn Chris of the impending events, which was also Peele's intention. The title also refers to another classic of the horror genre. The phrase is prominently used in Amityville Horror when Delaney is chased out of the house by the ghosts so that he can no longer protect the Lutz family.

Genre determination

Get Out is primarily a horror film . The feelings of fear are generated by hypnosis, in which various characters in the film are placed and as a result of which they are unable to move and no longer have control over their bodies. The film does not explain exactly how the mother's hypnosis works with the help of a teacup and a teaspoon, how it also maintains the general lack of clarity about who is actually involved in the dark plans in the film, whether it is all about strange misunderstandings acts and what's going on in the house. According to Will Leitch, the viewer can only be sure that Chris is the most normal of the people there. The fact that everyone tells him not to be nervous is what really panics Chris. In general, the danger in the film comes from the whites who use classic white weapons such as a lacrosse bat or the teacup and teaspoon that Missy uses to hypnotize her daughter's friend. Rose's family has not only a bad side, but also a warm and very human side, whereas her two servants seem completely sinister. Despite all the comical elements, according to Will Leitch, the film is more of a horror film than comedy. Aidan Lentz of Ithaca College says the film never forgets its horror or comedy influences that went hand in hand without ever getting in each other's way. The film locates the nightmare for a black man, from whom there seems to be no awakening, in the present.

Peele uses the forms of horror to make the viewer feel what daily life is like for black men and women. Peele also speaks of a social thriller in his film , and in the story of Chris, who is introduced to his future in-laws, you share a collective experience that everyone can relate to their own life and in which everyone can find himself again. The viewer has to get involved in the basic structure of the horror film, according to Aja Romano from Vox , which means that if Chris is to serve as our avatar, through whose eyes we perceive white society, we are also forced to do so, like the protagonist To see horror. At the same time, Peele also shows what young black men have to do to survive in white society. Romano speaks of code switching when black men and women adapt their language and mannerisms in different situations to the respective cultural or social contexts in a world dominated by whites, even if everyone is actually doing this.

Peele himself explains why the film illustrates particularly well how suitable horror is to discuss the topic of racism. Horror films are also all about the body, not just in the subgenre body horror, and often it is about a body being taken over by another being, as in The Exorcist and in Rosemary's Baby , or that a body of another being is attacked and abused. It doesn't seem like a big step for Peele to apply this idea to the question of race. Hanns-Georg Rodek from Welt Online is of the opinion that horror films are the best indicator for suppressed fears in a society because they come from below.

The film also contains mystery influences, i.e. a mixture of horror and fantasy elements, which, as in the film The Sixth Sense, for example , are characterized by aspects of the mysterious and the inexplicable, and Peele also connects the whole thing with elements of comedy. Andreas Busche from Tagesspiegel describes Get Out as a comedy into which mystery motifs in the form of an homage to the dystopian suburbia classic The Women of Stepford trickled in only very gradually . Peele himself also compares Get Out with The Women of Stepford . Mara Reinstein from US magazine finds the interplay of these genre elements from horror and comedy in the form of a satire to be clever, especially because it is a social satire with moments of horror and not the other way round, and even the truly terrifying moments almost always led to a sneering Laugh. Antje Wessels fromquotemeter.de says about Peele's mixture of horror film, comedy and social satire that this is the consistent continuation of a trend, away from the dreary cinema of concern, towards the attempt to process a socially relevant topic in such a way that the viewer does not get the feeling that From the start, makers approached their audiences with an educational mandate.

The Berlin professor of film studies Marcus Stiglegger said in an interview with NOiZZ that horror films have always chalked up social grievances. Regarding the creation of horror in the film, Stiglegger said that the more everyday the appearance, the deeper the abyss. However, Stiglegger did not know whether Get Out could be as successful in Germany as it was in the USA.

Comparison with other films

Matthew Monagle of Film School Rejects explains what distinguishes Jordan Peele, the director of the film, from his contemporaries and thus makes him a great horror film director, is his understanding of the fears currently dormant in all of our lives. Horror films worked best so Monagle if you could the grotesque from the familiar out arise, even as Steven Spielberg in Jaws did to give'm afraid to go to a beach.

Emily Zanotti of Heatstreet explains that the family does not use racist terms in the film, nor do they use southern slang, but that they are a normal family who try to prove how much they care about their black people, about their preference for rap Music talked, Obama voted and supported a return of Tiger Woods to the PGA . The premise of the film is therefore similar to that in The Stepford Women , according to Zanotti. Some critics compare the film with Guess Who's Coming to Dinner by Stanley Kramer .

Mashaun D. Simon from NBC News also recognizes allusions to Halloween , Shining and The Silence of the Lambs in the film . He also explains that there are scenes in the film in which some of the best-known stereotypes of black life are cultivated, such as the manipulation of black men by white women and the merchandise of the black body, but there are also moments in the film who Chris do things that "ordinary" blacks wouldn't, says Simon.

perspective

Peele wanted to get the viewer involved with Get Out , and he said, "You allow a white person to see the world through the eyes of a black person for an hour and a half." In the film, it's Chris's eyes that you see through follows strange events, who, as a talented photographer, is an extremely attentive observer at work and notices many things immediately, but not others immediately. His job is also the reason why Chris takes his digital SLR camera with him on his journey, which he always wears like a protective shield around his neck and at the same time creates distance and closeness between Chris and his surroundings, which is also an opportunity for him to do so watch and escape this. Hanns-Georg Rodek from Welt Online explains that the whites would be demonstratively color-blind, but the trained eye of the photographer discovered contradictions in the beautiful backdrop, and one involuntarily thinks of the cell phone cameras, without whose testimony the black police victims are still considered perpetrators would hold. Hannah Pilarczyk from Spiegel Online explains that the camera's view is that of Chris, and so the audience notices what strikes him from the very first shot: “The servants of Rose's parents, all black, act strangely submissive. And for the parents it seems to be an effort to get involved with their daughter's black boyfriend. ”This is important both for the plot of the film and for the camerawork right through to the end.

The protagonist's special eye for little things is also important in the plot of the film itself. For Jim Hudson, it's not just about owning Chris's body, but especially about his eyes, through which he would like to see. When he tells Chris about his plans to transplant his brain into his body, Jim says, "I want to see the world through your eyes."

Themes and motifs

Hidden racism

Peele points the camera at the "monster of racism" that lurks in the well-tended suburbs. Like his predecessors and cinema idols, he uses the conventions of the horror genre to open a universal window to one of the most marginalized voices in contemporary America: that of the young black man. According to Rory Chasin from JOE.ie , the film alludes to racism with all its horrors that have actually recently been observed in America . However, the villains in the film are not southern rednecks , neo-Nazi skinheads or so-called " old rights ", but bourgeois, white "liberals", explains Lanre Bakare of The Guardian . Peele deals with the racial issue in America in a refreshing, entertaining and intrepid manner in the film, according to Bakare, and the references found in it included multiracial relationships, eugenics, the slave trade, black men who die first in horror films , the suburban racism and police violence perpetrated against blacks. For Bakare, it seems no coincidence that the film was released almost five years after Trayvon Martin was killed. Many critics believe that they recognize post-racism in the film, because for a time there was a false belief and hope in the USA that racism had been overcome because Barack Obama was an African American president. The director had stressed several times that he wanted to expose the lie about post-racist America that many Americans like to believe that racism in America has been overcome.

"The film gives a feeling and an impression of what it is like to be black in the USA or to belong to a minority in this country, and of how we are perceived, even if we are told that it is not", said Peele. In her review of the film, Stephanie Zacharek of Time recalls the lyrics of a song by Lou Reed that says, "I want to be black," which reflected the largely unspoken feelings of many white people everywhere because some white people are as cool as want to be black people. Zacharek explains that Peele uses simple elements such as a severed deer head hanging on a paneled wall or an old television cabinet to create a gloomy suburban atmosphere. According to Zacharek, the world of wealthy white people with their status symbols seems very, very uncool.

The garden party as a dream of fear

Chris endures a social nightmare during a garden party to which family friends and the late grandfather are invited . He meets a multitude of rich, white people who clearly come too close to him, force themselves on him, touch him without his permission and explicitly objectify him physically and sexually. They do all of this to express their admiration for black people, but they are also masking deeper forms of racism. The comments made by the guests are aimed at portraying Chris as an example of a person and assessing the quality of his body. The bingo organized is also aimed at this. His intellectual attributes, such as his artistic talent, on the other hand, are explicitly broken down into objectified, physical parts and he commutes as a person. His talent as a photographer is reduced to his “eyes for art”.

During the garden party, as in all of the first two thirds of the film, Chris deliberately remains quiet while enduring these racist behaviors, and it is clear that he has learned his maneuvers through countless social interactions. This reluctance seems deliberate and aimed at avoiding hostility and maintaining the appearance of politeness and docility. When Chris finally begins to fight back, resort to violence and regain control, this is a cathartic moment, says Aja Romano from Vox , which directs our gaze to the true nature of black resistance.

Black body empowerment

Contrary to what the trailers and posters for the film suggest, the nice white people in the film don't want to oust the blacks or kill them per se, but have devised a complicated and very bloody form of racial vampirism, according to Emily Yoshida of Vulture by tried to transfer their own minds into black bodies in order to live in them because they loved black people because they are so good at everything and because they are so cool. The planned brain transplant, during which Jim’s brain is to be implanted in Chris’s body, will try not only to hypnosis but also to physically empower their bodies. With the film taking a completely different look at the treatment of black bodies in American history, according to Slate's Aisha Harris , the horror film could soon be sure of a place on the curriculum for many college courses.

Subliminal criticism of Hollywood

Some critics also see the film as a hidden criticism of Hollywood and the portrayals of so-called multiracial relationships on the screen. In his review of Get Out, Kevin Noble Maillard of the New York Times particularly recalled that from 1930 to the late 1960s, the Motion Picture Production Code , a radical, intra-industry code of self-censorship in the United States, banned the depictions of multiracial relationships in films and later mainstream films propagated the abnormality of multiracial intimacy, which had left little room for alternative starting plots for the stories that could be told in the films. Such films were mainly concerned with the racial differences themselves or looked at known multiracial relationships from a historical perspective, as most recently in Loving or A United Kingdom .

According to Aja Romano von Vox , the dominant narrative in our society , as reported about the struggles fought by blacks, is that of the black individual as troublemakers, as agitators and thus ultimately as problems. According to Romano, black citizens were not allowed within cultural history to appear heroic through their resistance. Hollywood has reinforced the thought through films that violence is generally bad and that minorities should only be allowed to do so if it is used as a means of achieving harmony and unity. Even in horror films, a genre that is full of punitive violence, according to Romano, black characters are usually only allowed to use violence if they act alongside other white characters. Hanns-Georg Rodek from Welt Online thinks that Peele's film, according to Hollywood definition, is exceeding the limits of commercially permitted taste, because Hollywood would never have allowed a bunch of whites to be slaughtered as a cathartic solution without the black somehow having to pay for it .

Justin Chang of the Los Angeles Times says Get Out now feels like a long overdue response to Hollywood's collective failure. Matthew Monagle of Film School Rejects also says, from Moonlight to 13th to I Am Not Your Negro , Hollywood has increasingly noticed that black filmmakers have to be allowed to tell their own stories in their own words. In bright colors, Get Out embarks on a journey through film history, right up to George A. Romero's The Night of the Living Dead from 1968, according to Monagle, and uses the characteristics of its genre to show how little it has since then has changed.

For Zaba Blay too, Get Out and its commercial success is proof that Hollywood has become increasingly interested in depicting multiracial relationships. Blay recalls one of the earliest on-screen portrayals of black men and a white woman in DW Griffith's film The Birth of a Nation , in which the black man was portrayed as a stereotypical, sex-obsessed rapist trying to steal the innocence of a white girl. Such a portrayal was first interrupted in 1965 in the film Dreaming Lips , in which Sidney Poitier kissed his white colleague Elizabeth Hartman , who played a blind girl. While the portrayal of multiracial relationships in the film may have indicated a change in the real world, according to Blay, it is not necessarily a sign of racial improvement. The New York Times' Kevin Noble Maillard notes that while the number of multiracial relationships is currently at a record high in the United States, this is not necessarily reflected in the stories that appear on television and on the big screens.

production

Staff and cast

Daniel Kaluuya played the lead role of Chris Washington in the film

Directed by Jordan Peele , who also wrote the screenplay for the film. It is in Get Out to the directorial debut of the actual actor, who previously as a writer for comedy shows like MADtv and Key & Peele worked. The African-American director said of Get Out that the subject of the film was racism, but he didn't want to use backwoods " rednecks " as antagonists, but people from a left elite who believe that both sides have overcome something like that.

Peele said of Get Out , “It's a very personal film, and it's based on my experience as an African American.” Especially the situation in which his main character Chris finds himself at the Armitages party in the film, where he has many of the white guests tell what they think of him is known to him, so Peele. Peele is also married to the white actress Chelsea Peretti , which means that his main character Chris has possible autobiographical references to himself. The director jokingly explained his special “gift”: “Little Haley Joel Osment could see dead people in The Sixth Sense . Well, and I can see racist people. "

British actor Daniel Kaluuya played Chris Washington and Allison Williams played his girlfriend Rose Armitage. Her parents Missy and Dean are played by Catherine Keener and Bradley Whitford , her brother Jeremy by Caleb Landry Jones . The African-American actor Marcus Henderson plays Walter, while the young African-American actor Keith Stanfield , who has previously received awards for his roles in the films Selma and Straight Outta Compton , plays Andrew Logan King-Hayworth, the life partner of a white family friend. Lil Rel Howery plays Rod Williams, Chris' best friend. Betty Gabriel stars as the housemaid Georgina, Stephen Root as Jim Hudson, Erika Alexander as Detective Latoya, and Lyle Brocato as Richard Shaw.

Filming and equipment

A house on Levert Avenue in Mobile where parts of the film were shot.

The shooting took place from mid-February 2016 for around three weeks in Fairhope , Alabama , USA . Further recordings were made at the Barton Academy in the port city of Mobile , near Ashland Place Methodist Church and Levert Avenue in Mobile, including in a private apartment building that had a room with a large window through which one could access the Sidewalk. The owner's house was rebuilt for the duration of the shooting. The cost of producing the film was approximately $ 4.5 million.

Tim Caspar Boehme from the taz explains that Peele likes to balance the uncanny against the grotesque in his film: “When Chris is hypnotized, for example, Peele chooses an almost comic-like exaggerated image for this“ immersion ”into the unconscious, which is in its artificial seclusion more makes you laugh than makes you shudder. "About the scenes during the garden party, Andreas Busche from Tagesspiegel says that Peele shows a sure hand for the plump physiognomies of high society:" Like a court painter of the Renaissance he catches the greasy necks, pink cheeks and bloated ones Bodies of the white guests who crowd sect-like around their sacrificial lamb. "

Marietta Steinhart from Zeit Online reminds the Armitages house with its white columns of a southern plantation . The stuffed deer head in the Armitages' house is not only a reference to a horror motif, such as similar stuffed animals in the film Psycho , but also to a racist stereotype, because blacks were compared to animals , especially in the slave era , and hunted down mercilessly after trying to escape.

Film music and sound design

The film music was composed by Michael Abels , who had previously worked with the well-known gospel artist Reverend James Cleveland and was the first film music composer at Get Out . The choice fell on Abels because Peele believed that he could create music with clearly recognizable black musical references and black roots. This proved to be a challenge, however, because Peele found that African American music usually always shows a ray of hope. Because he actually wanted to avoid this, there are blues elements in the film music .

Abels said of the collaboration with Peele: "Jordan gave me a very clear direction for the film music, and above all it had to be really scary." Despite the Afro-American elements in the film music, Peele did not want to fall into stereotypes, but should clearly as Afro-American recognizable voices speak to Chris in the film, representing the souls of the slaves and other black victims of oppression who speak to him from the spirit world. Abels decided on words spoken in Swahili voices because such incomprehensible languages ​​always seemed somehow also frightening, according to the composer. Abels wrote lyrics about this and had them sing in a Swahili translation, accompanied by traditional instruments, to see if this corresponded to the music he had envisioned for the film, which for example resulted in the theme song of the film Sikiliza Kwa Wahenga , what as much as “stop (your) ancestors” means and means that something bad will happen. In addition to a black choir, Abels also used a string orchestra, harp and metal percussion instruments for the film music.

Kaya Savas of filmmusicmedia.com says the score is almost perfect for a horror thriller and ignores any clichés in the genre to scare or create discomfort while still being extremely effective. Abels gave the music a very organic and human feel, said Savas, by mainly using acoustic instruments. There are also some electronic elements, but these are really used sparingly, says Savas. The use of the African chants in Swahili, which were intended to comment on the plot, gives the film an eerie human touch. It was really one of Abel's talents as a musician and composer that he made film music a core element of the story. Patrick Phillips from cutprintfilm.com agrees with the verdict and says that Abel's living music is the glue that holds the complex film together and weaves an almost psychedelic web around Peele's twisted narrative. The composer has spent his professional life bringing elements of jazz , blues and bluegrass into his orchestral arrangements , according to Phillips, and tonal shifts in particular were part of his music repertoire. The result of the 43 compositions for Get Out now combined elements of Americana, classical orchestral music and traditional African chants. However, Phillips particularly highlights the opening piece Prologue , which lasts only 20 seconds, and the main theme. The words sung in Swahili in it, which translates as “Brother - listen to the elders. Run! Brother - listen to the truth. Run far away Run! Save yourself ”mean, sound like tortured African souls speaking from America's despicable past, said Phillips. Chris & Rose, on the other hand, sounds like a love song from a lost Hitchcock film , but the cool and minimalist piece The Deer also fits into Hitchcock's twisted world. Phillips describes the piece Hypnosis as four minutes of hallucinogenic orchestral madness.

In the opening credits of the film is Donald Glover song Redbone from the album "Awaken, My Love!" played, which he created under his stage name Childish Gambino. In choosing this song as the opening song of his film, Peele said that he liked its lyrics, which asks the listener to stay awake because black people sneaking around outside looking for you, trying to find you and strangling you, which is what especially the Afro-American viewers of his film get into the mood for should. Other songs played in the film include the 1920s song Run Rabbit Run by Flanagan and Allen and (I've Had) The Time Of My Life in the version by Bill Medley and Jennifer Warnes .

On February 24, 2017, the 43-track soundtrack was released as a download from Back Lot Music.

Marketing and Publishing

A first trailer for the film was published in October 2016. In February 2017 Peele presented as part of a marketing event at the Brooklyn Academy of Music, a film retrospective entitled The Art of the Social Thriller together from genre movies like Night of the Living Dead , Guess Who's Coming advice for eating , Rosemary's Baby , House The Forgotten , The Silence of the Lambs , Scream , Misery , My Devilish Neighbors , Shining , Candyman's Curse and The Window to the Courtyard , in which the protagonist, like Chris in Get Out, is also a photographer.

The film premiered on January 23, 2017 at the Sundance Film Festival . The film was released in US cinemas on February 24, 2017. A first German trailer for the film was released at the beginning of March 2017. The film was released in cinemas in the United Kingdom on March 17, 2017 and kicked off in Germany on May 4, 2017. In the film poster published by Universal Pictures Germany in March 2017, the film title is signed with the question “Is everyone who is invited really welcome?”. On February 1, 2018, it was released as Blu-ray in Germany.

synchronization

The German synchronization was based on a dialogue book and the dialogue direction by Hannes Maurer on behalf of RC Production Kunze & Wunder GmbH & Co. KG in Berlin .

role actor German Dubbing voice
Chris Washington Daniel Kaluuya Nico Sablik
Rose Armitage Allison Williams Yvonne Greitzke
Missy Armitage Catherine Keener Anke Reitzenstein
Dean Armitage Bradley Whitford Till Hagen
Jeremy Armitage Caleb Landry Jones Hannes Maurer
Andrew Logan King Keith Stanfield Tim Knauer
Jim Hudson Stephen Root Jan Spitzer
Rod Williams Lil Rel Howery Tobias Schmidt
Detective Latoya Erika Alexander Peggy Sander
Georgina Betty Gabriel Victoria Storm
Walter Marcus Henderson Michael Iwannek
Philomena King Geraldine Singer Sonja German
Officer Ryan Trey Burvant Sven Gerhardt
Roman Armitage, grandfather Richard Herd Horst lamp

reception

Age rating

In the USA, the MPAA gave the film an R rating for depicting violence, bloody scenes and sexual references, which corresponds to a rating of 17 and over. In Germany the film is FSK 16 . The statement of reasons for the release states: “The film tells of prejudice and racism using the typical means of the horror genre and a clearly satirical element . In doing so, he slowly builds up his tension, but in the last third he harbors sometimes drastic scenes of violence. This can overwhelm children and adolescents under 16 years of age, but from 16 year olds are able to decipher the stylistic devices and place the film in the genre context due to their media experience. The numerous ironic refractions and sometimes grotesque exaggerations make it easier for them to distance themselves. Since the film also does not portray the use of violence positively, the age group mentioned can reflect on its issues without being overwhelmed by the drastic elements. ”Hannah Pilarczyk from Spiegel Online says that Peele's simple basic idea is also intuitive for a non-American and non-black audience understandable.

Reviews

Jordan Peele directed and wrote the screenplay for the film

The film won over 98 percent of Rotten Tomatoes ' critics . 86 percent of the moviegoers were also convinced by the film and it achieved an average rating of 4.2 out of 5 points. The CinemaScore “A-” was also very rare , which corresponds to a “1-” that the viewers of Get Out gave on average after its launch in the USA, which is particularly rare for horror films . In the context of the Golden Tomato Awards in 2017, the film emerged as the winner in the categories Best Wide Release and Best Horror Movie .

Antje Wessels of Quotenmeter.de says the idea to make the first visit to the in-laws for narrative linchpin, was brilliant. As a viewer, you are not only in the middle of the scenario, but are also tortured by Jordan Peele with a vague feeling of insecurity.

Peter Debruge of Variety says the mix of satire and horror film proves some social criticism , and John DeFore of The Hollywood Reporter even talks about one of the most satisfying thriller for years, which proves that Jordan Peele, who first worked as a director, many career opportunities when he's tired of being in front of the camera in comedies.

Andreas Busche from Tagesspiegel thinks that the real strength of the film lies in the fact that it finds the most plausible genre metaphor since George Romero's zombies for real fears in America today, because the horror film is basically the only way to tell of a black experience, as long as young African Americans die from police bullets.

Dietmar Dath from the Frankfurter Allgemeine Zeitung says that Peele's directorial debut was an unusual and highly intelligent work: “The film breaks many rules and skillfully combines horror, comedy and a look at American society.” His colleague Bert Rebhandl describes the film as a highly enjoyable horror comedy, which is bursting with intelligence in detail, and which also came up with some great acting performances. The American dream of a cinema that is commercial and relevant at the same time and in which politics is a consequence of radical thinking is alive here, according to Rebhandl.

Daniel Krüger from Musikexpress says that Get Out looks like the filmed nightmare of the Black Lives Matter movement and after the release of the first trailer he described: “All people with dark skin seem to be under hypnosis on the property of their in-laws, sometimes they walk like Zombies around or issue warnings to him. The interview with the future (well, probably not yet) family becomes a struggle for survival. "

Vulture's Emily Yoshida says Get Out is the best movie to hit over an Oscar weekend and a time when the Oscars, Golden Globes, and Screen Actors Guild Awards are no longer #SoWhite be.

Sabienna Bowman from bustle.com saw a good chance for the film to be considered at the awards ceremony of the following year shortly after the 2017 Academy Awards . Matthew Jacobs of the Huffington Post also sees Get Out as a scalding satire that accuses America of racial bigotry, an Oscar nominee as worthy as in any slavery film. The horror film genre and the release date at the beginning of the year are no obstacles, says Jacobs, and he reminds us that The Silence of the Lambs was also considered at the Academy Awards.

From the German Film and Media Review was Get Out with the predicate particularly valuable provided. The reasoning states: “The camera and editing help to adequately set the oppressive atmosphere and moments of shock, the effects are right, and the actors successfully create the uncertainty that should emanate from the characters. All in all, the makers have succeeded in creating an intelligent genre film that - the jury would like to emphasize - was also dubbed very convincingly by the German distributor. "

Gross profit

The film, which opened in 2,781 North American cinemas on February 24, 2017, had convinced all of the more than 100 critics at Rotten Tomatoes on that day, grossed around 10.8 million US dollars on the first day and landed after the first weekend # 1 on the cinema charts, with total revenues of US $ 33.4 million, it became the second successfully launched, R-rated horror film after The Purge , which grossed around US $ 34 million on its opening weekend in June 2013, surpassing it the expectations of the experts, who assumed a gross profit of between 25 and 30 million US dollars. Since 2000, only 180 films had succeeded in convincing all the critics in large numbers, and this was an exceptionally good result, especially for a feature film. Remarkable at the opening weekend, when the film Moonlight, which also deals with the world of blacks, was featured best film was awarded at the Academy Awards, was also the mix of cinema audiences, which consisted of 39 percent black, 36 percent white and 17 percent Hispanic and consisted of both women and men.

Production costs of US $ 4.5 million have so far been offset by revenue from cinema screenings of around US $ 255 million, and US $ 176 million has been grossed in the USA, making Get Out the 15th most successful Films is ranked 37th among the world's most successful films of 2017 . In the USA, Get Out also became the most successful film produced by Blumhouse , even before Split , which hit US cinemas in early 2017. In addition, Get Out became the third most successful R-rated horror film of all time in the US, ahead of Hannibal and behind Es and The Exorcist , which grossed $ 232.9 million there, adjusted for inflation. After its launch, the film also landed at number 1 on the cinema charts in South Korea. In Germany, the surprise success from the USA rose to number 2 in the cinema charts in its opening week on the first weekend in May 2017, behind Guardians of the Galaxy Vol. 2, and stayed in the top 10 for another three weeks. The film recorded a total of 539,101 visitors in Germany in 2017, making it 60th in the annual ranking.

Internet challenge

Shortly after Get Out's theatrical release in the US, an internet challenge for the film was created. People were filmed walking towards the camera but then dodging. The videos that were shot were then shared on social media. It is a recreated scene from the film in which the gardener Walter runs towards Chris and only changes direction shortly before a collision. Celebrities such as the American basketball player Stephen Curry , the Australian rugby player Adam Ashley-Cooper and the Austrian soccer player David Alaba also took part in the challenge .

Awards (selection)

On December 18, 2017, the Academy of Motion Picture Arts and Sciences announced that Michael Abels ' work was on a shortlist from which the nominations for Best Film Music category at the 2018 Academy Awards were made. Below is a selection of nominations and awards from other film awards.

American Film Institute Awards 2018

  • Inclusion in the top 10 films of 2017

Art Directors Guild Awards 2018

  • Nomination for the Excellence in Production Design Award in the Contemporary Film category (Rusty Smith)

Black Reel Awards 2018

  • Nomination for Best Picture ( Sean McKittrick , Jason Blum , Edward H. Hamm Jr. and Jordan Peele )
  • Nomination for Best Director (Jordan Peele)
  • Nomination for Best Screenplay (Jordan Peele)
  • Nomination for Best Actor ( Daniel Kaluuya )
  • Nomination for Best Supporting Actor ( Lil Rel Howery )
  • Nomination for Best Supporting Actress ( Betty Gabriel )
  • Nomination for Best Ensemble (Casting: Terri Taylor )
  • Nomination for the best film music (Michael Abels)
  • Nomination for Best Young Director (Jordan Peele)
  • Nomination for Best Young Actor (Daniel Kaluuya)
  • Nomination for Best Young Actor (Lil Rel Howery)
  • Nomination for Best Young Actress (Betty Garbriel)

British Academy Film Awards 2018

British Independent Film Awards 2017

  • Award for best international independent film

CinemaCon Big Screen Achievement Awards 2017

Critics' Choice Movie Awards 2018

Directors Guild of America Awards 2018

  • Nomination for Best Feature Film Director (Jordan Peele)
  • Award for Best Debut Director (Jordan Peele)

Eddie Awards 2018

Golden Globe Awards 2018

Gotham Awards 2017

  • Award for Best Screenplay (Jordan Peele)
  • Received the Bingham Ray Award for Best Young Director (Jordan Peele)
  • Awarded the audience award
  • Nomination for best film
  • Nomination for Best Actor (Daniel Kaluuya)
  • Nomination for the audience award

Hollywood Music in Media Awards 2017

  • Nomination in the category Original Score: Sci-Fi / Fantasy Film (Michael Abels)

Hollywood Professional Association Awards 2017

  • Nomination in the category Outstanding Editing - Feature Film (Gregory Plotkin)

Independent Spirit Awards 2018

  • Award for best film
  • Award for Best Director (Jordan Peele)
  • Nomination for Best Screenplay (Jordan Peele)
  • Nomination for Best Editing (Gregory Plotkin)
  • Nomination for Best Actor (Daniel Kaluuya)

Los Angeles Film Critics Association Awards 2017

MTV Movie & TV Awards 2017

  • Nomination for best film
  • Nomination for Best Film Actor (Daniel Kaluuya)
  • Nomination for Best Villain ( Allison Williams )
  • Award in the category Best Comedic Performance (Lil Rel Howery)
  • Nomination for Best Duo (Daniel Kaluuya and Lil Rel Howery)
  • Nomination in the category Best Fight Against the System

NAACP Image Awards 2018

  • Nomination for best film
  • Award for Best Screenplay (Jordan Peele)
  • Award for Best Director (Jordan Peele)
  • Award for Best Actor (Daniel Kaluuya)
  • Nomination for Best Supporting Actor (LilRel Howery)

National Board of Review Awards 2017

  • Award for the best directorial debut (Jordan Peele)
  • Award as Best Ensemble Cast
  • Inclusion in the top 10 movies

National Society of Film Critics Awards 2018

New York Film Critics Circle Awards 2017

Academy Awards 2018

Producers Guild of America Awards 2018

  • Nomination for Best Film (Sean McKittrick, Edward H. Hamm Jr., Jason Blum and Jordan Peele)
  • Stanley Kramer Award (Sean McKittrick, Edward H. Hamm jr., Jason Blum and Jordan Peele)

Satellite Awards 2017

  • Nomination for best film
  • Award for Best Director (Jordan Peele)
  • Nomination for Best Original Screenplay (Jordan Peele)
  • Nomination in the Art Direction and Production Design category

Screen Actors Guild Awards 2018

World Soundtrack Awards 2017

  • Nomination in the Discovery of the Year category (Michael Abels)

Writers Guild of America Awards 2018

  • Award for Best Original Screenplay (Jordan Peele)

continuation

Prior to the film's US theatrical premiere, Peele signaled a general interest in a sequel to the film and said, “There are several directions we could take. But to be completely honest, I'm trying to implement completely different ideas. Get Out 2 has absolutely no priority at the moment. But if we get the chance to discuss a sequel, I'll be prepared. ”In addition to a possible sequel to Get Out , Peele has ideas for four other social thrillers. “I have four other social thrillers that I want to reveal in the next decade. The best and most fearsome monsters in the world are human beings and what we are capable of, especially when we meet. I've been working on these premises of these various social demons, these inherent monsters, the way they are woven into our thinking and our interaction. And every subsequent film should be about a different one of these social demons, ”said Peele.

Web links

Individual evidence

  1. ↑ Release certificate for Get Out . Voluntary self-regulation of the film industry (PDF; test number: 167447 / K). Template: FSK / maintenance / type not set and Par. 1 longer than 4 characters
  2. ↑ Age rating for Get Out . Youth Media Commission .
  3. ^ A b c d Will Leitch: Get Out: Menace to Society. Jordan Peele's horror-comedy explores what lies behind the smiling faces of 'good' white people - sometimes literally. In: newrepublic.com , February 24, 2017.
  4. ^ Caity Weaver: Jordan Peele on the Most Terrifying Horror Story: Being Black in America. In: gq.com , February 3, 2017.
  5. ↑ a b Get Out: You may have missed these horror quotes! In: kino.de. Retrieved May 2, 2017.
  6. ↑ a b c Aisha Harris: Get Out. In: slate.com , February 23, 2017.
  7. ↑ a b c Aidan Lentz: Review: Jordan Peele's horror film examines racial tension. In: theithacan.org , February 15, 2017.
  8. ↑ Hillary Busis: This Horror Film About Evil White People Looks Absolutely Bonkers. In: Vanity Fair , October 5, 2016.
  9. ↑ a b Bilge Ebiri: 'Get Out's' Jordan Peele Brings the 'Social Thriller' to BAM. In: villagevoice.com , February 14, 2017.
  10. ↑ Aja Romano: How 'Get Out' deconstructs racism for white people. In: vox.com , March 7, 2017.
  11. ↑ a b c Hanns-Georg Rodek: Never trust a smiling Liberal World Online, May 4, 2017.
  12. ↑ a b Mara Reinstein: 'Get Out' Review: The Jordan Peele-Directed Film 'Breaks New Ground' as an Intense Horror and Social Comedy Hybrid. In: usmagazine.com , February 21, 2017.
  13. ↑ a b c Andreas Busche: Horror comedy 'Get Out': Wrong departure In: Der Tagesspiegel, May 4, 2017.
  14. ^ Sarah Ricard: Key & Peele Star Talks About His Upcoming Horror Movie. Jordan Peele: 'I'm obsessed with the link between horror and comedy'. In: rottentomatoes.com , March 9, 2015.
  15. ↑ a b Antje Wessels: 'Get Out': The right film at the right time In: quotenmeter.de, April 29, 2017.
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  17. ↑ a b Matthew Monagle: You Have No Excuse Not to See 'Get Out' in Theaters This Weekend. In: filmschoolrejects.com , February 24, 2017.
  18. ↑ a b Emily Zanotti: Hit Horror Film at Sundance 'Get Out' Has Scary Twist. In: heatst.com , January 27, 2017.
  19. ↑ a b Lanre Bakare: Get Out: the film that dares to reveal the horror of liberal racism in America. In: The Guardian , February 28, 2017.
  20. ↑ a b Mashaun D. Simon: 'Get Out': Jordan Peele's Horror Flick Debunks Post-Racial Myths. In: nbcnews.com , February 24, 2017.
  21. ↑ a b c Lenika Cruz: In 'Get Out', the Eyes Have It. In: theatlantic.com , March 3, 2017.
  22. ↑ a b Hannah Pilarczyk: Horror film 'Get Out' about racism: Rightly paranoid In: Spiegel Online, May 3, 2017.
  23. ↑ a b Jen Yamato: Jordan Peele on 'Get Out,' the horror film about racism that Obama would love. In: Los Angeles Times , February 25, 2017.
  24. ↑ Rory Chasin: New horror movie Get Out is probably the most important movie you'll see this year. In: joe.ie , February 25, 2017.
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  28. ↑ a b Aja Romano: How Get Out deconstructs racism for white people. In: vox.com , March 7, 2017.
  29. ↑ Emily Yoshida: Oscars 2017. Get Out Is the Most Appropriate Oscar Weekend Release Ever. In: Vulture , February 24, 2017.
  30. ↑ Fans celebrate the clever horror thriller 'Get Out'. In: rp-online.de , March 9, 2017.
  31. ↑ a b Kevin Noble Maillard: Erased Onscreen: Where Are All the Interracial Couples? In: The New York Times , March 3, 2017.
  32. ^ Aja Romano: How Get Out deconstructs racism for white people. In: vox.com , March 7, 2017.
  33. ↑ Mark Olsen: Indie Focus: Oscars and onward with 'Get Out' and 'I Don't Feel at Home in This World Anymore'. In: Los Angeles Times , February 26, 2017.
  34. ↑ Zaba Blay: Watch How On-Screen Interracial Relationships Evolved To Give Us 'Get Out'. In: The Huffington Post , March 6, 2017.
  35. ↑ Eliza Berman: Jordan Peele: Get Out 'Explores Why Black People Are Afraid of White People'. In: Time , February 24, 2017.
  36. ↑ Jen Yamato: Jordan Peele on 'Get Out,' the horror film about racism that Obama would love. In: Los Angeles Times , February 25, 2017.
  37. ↑ Michelle Matthews: Allison Williams, star of 'Girls,' raves about Fairhope after filming movie there. In: al.com , March 19, 2016.
  38. ↑ Asia Frey: Ashland Place home transformed into movie set for a day. In: lagniappemobile.com , March 30, 2016.
  39. ↑ Brent Lang: Box Office: 'Get Out's' Rave Reviews Will Power Jordan Peele Thriller to Strong Opening. In: Variety , February 22, 2017.
  40. ↑ Tim Caspar Boehme: US horror film 'Get Out': The horror is white In: taz.de, May 3, 2017.
  41. ↑ Back Lot Music to Release 'Get Out' soundtrack. In: soundtrack.net , February 22, 2017.
  42. ^ Charles Pulliam-Moore: The hidden Swahili message in 'Get Out' the country needs to hear. In: fusion.net , March 1, 2017.
  43. ↑ Kaya Savas: 'Get Out' by Michael Abels. ( Memento of the original from March 13, 2017 in the Internet Archive ) Info: The @1@ 2Template: Webachiv / IABot / www.filmmusicmedia.com archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. In: filmmusicmedia.com , February 28, 2017.
  44. ↑ Americana is a form of American folk that was created by combining various traditional American musical styles that make up the musical ethos of the United States, but specifically those sounds from folk , blues, rhythm and blues, and rock and roll .
  45. ↑ Patrick Phillips: Soundtrack Listening: 'Get Out'. In: cutprintfilm.com , February 28, 2017.
  46. ↑ Chris Mench: Jordan Peele Reveals Why He Chose Childish Gambino's "Redbone" To Soundtrack 'Get Out'. The 'Awaken, My Love!' single is featured in the movie's opening credits. In: genius.com , February 23, 2017.
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  48. ↑ 'Get Out' Soundtrack Announced. In: filmmusicreporter.com , February 23, 2017.
  49. ↑ Sebastian Daniels: Get Out - Racism and Hypnosis in the first trailer for the horror film In: moviepilot.de, October 5, 2016.
  50. ↑ Monica Castillo: Where to Stream the Movies That Influenced 'Get Out'. In: The New York Times , March 10, 2017.
  51. ↑ Jude Dry: Jordan Peele on Putting the 'Monster of Racism' Onscreen for Horror Debut 'Get Out'. In: indiewire.com , January 24, 2017.
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  53. ^ Tilly Pearce: What is Get Out? UK release date, cast and storyline of hot psychological thriller - all you need to know. In: thesun.co.uk , March 13, 2017.
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  67. ^ Sabienna Bowman: 11th 2018 Oscar Nomination Predictions Based On Early Favorites. In: bustle.com , February 27, 2017.
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  114. ↑ Rebecca Rubin: SAG Award Nominations In: Variety, December 13, 2017.
  115. ↑ World Soundtrack Awards Discovery of the Year & Public Choice Nominees Announced In: filmmusicreporter.com, September 13, 2017.
  116. ↑ Hollywood script award for horror film 'Get Out' In: orf.at, February 12, 2018.
  117. ↑ Carmine Carpenito: Get Out 2 - Will the spook soon enter the second round? Director Jordan Peele on the possibility. In: blairwitch.de , February 17, 2017.
  118. ↑ Jude Dry: 'Get Out' Is the First of Many 'Social Thrillers' Jordan Peele Has Planned. In: indiewire.com , March 2, 2017.
  119. ↑ Selim Baykara: Get Out 2: Is the horror going into the next round? In: giga.de, May 8, 2017.