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Criticism of ‘Nope!’, Jordan Peele’s love letter to Spielberg

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The director premieres his third film, in which he returns to enter the horror genre betting more on science fiction.

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    When the strange and omnivorous alien form that hides among the clouds of an unmistakably western setting (that of a seventies fantastique jewel such as chikara, where a gigantic mythological eagle united in its capture a heterogeneous group of outsiders) or the one on the mountain that obsessed Richard Dreyfuss and was the place marked with a Spielbergian X for some Matches in the third phase, is revealed as a large white canvas there is no doubt that this extraterrestrial entity that hits the reality (the routine) of the (equally heterogeneous and losers) protagonists of nope! It is a movie screen, a primitive and organic screen on which Jordan Peele projects his idea of ​​a cinema that has lost, like humanity and like its characters, the capacity for wonder, craftsmanship and the primitive and primal sense of Wonderful. We no longer watch the skies even as a metaphor for political fears, but rather we ignore them and when something out of the ordinary reminds us that we are not alone in the universe we feel the need to capture it, make it real, visible, almost a meme. The sad need to rationalize what never needed to be. Turning into a business (the girl’s obsession with a photo that goes viral) that which is something as free, dangerous and innocent as King Kong was on his Skull Island.

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    nope! vindicates that adventurous cinema of the fantastic and the incredible that Steven Spielberg patented with his emblematic and influential film still to this day Shark. He does it in the manner of Jordan Peele, little by little, knowing how to measure the times to play with the expectations and the nerves (also the credibility) of the spectators. From that beginning where a coin (chance always present in the opus of the author of Let me out Y Us) decides the family future of a couple of orphans on the outskirts (almost another planet) of Hollywood, Peele’s extraordinary film seems to prolong a search and the resolution of a mystery with the occasional digression that appears to be the one that refers to the traumatic and childhood television past of the character played by Steven Yeun, the director of a Western theme park who would not be far from the Carl Denham of the King Kong by Merian C. Cooper and Ernest B. Shoedsack. False digression because that terrifying recurring flashback (and which opens the film) also talks about how we annihilate fantasy by prostituting it.

    Exciting in its staging, audiovisual design and soundtrack, nope! is profoundly Herzogian (Werner Herzog was about to be in the cast, being replaced by Michael Wincott) in how he makes cinema and the hallucinated odyssey one and the same adventure, a Aguirre or the wrath of God in which El Dorado is to trap in celluloid or in a photographic chemical emulsion (no digital) that strange unidentified flying object. Or yes identified, of course: the white sheet where dreams live over and over again called cinema.

    For those who are still capable of letting themselves be amazed by the inexplicable

    The best: the final climax on the hunt for the strange entity.

    Worst:

    that you are left wanting to know more about the chimpanzee.

    DATA SHEET

    Address: jordan peele Distribution: Steven Yeun, Daniel Kaluuya, Keke Palmer, Terry Notary, Donna Mills, Michael Wincott, Barbie Ferreira Country: USA Year: 2022 Release date: 08-19-2022 Gender: Terror Script: jordan peele Duration: 135 minutes

    Synopsis: There is something that hides behind the clouds, something that could very well be a flying saucer of extraterrestrial origin and that becomes the target to discover and catch by a small group of misfits.

    Source: Fotogramas

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