In Get Out the Eyes Have It The Atlantic

“This post includes spoilers for the entirety of Get Out. One of the most popular promotional images of the new horror-comedy film Get Out is that of a young black man staring straight at the camera. Little details stand out about him if you look long enoughu2014heu2019s wearing a gray hoodie and T-shirt, thereu2019s a slight crease on his foreheadu2014but these are otherwise hard to really notice because of his eyes, which are wide and wet and red and give the unmistakable impression of a person frozen in pure, cold fear. As the protagonist of Get Out, Chris Washington tells a great deal of the story using only his eyes. This is of course a testament to the excellent work of the actor, Daniel Kaluuya, who plays him. But itu2019s also evidence of the filmu2019s subtle obsession with ways of seeingu2014whether through cameras or through (literally) different pairs of eyes. Part racial satire, Get Out follows Chris as he meets his girlfriendu2019s parents for the first time at their secluded home far from the city. The girlfriend, Rose Armitage (played perfectly by Allison Williams), is white, and Chris is a little nervous about how her family will react despite her reassurances to him (u201cTheyu2019re not racists. I would have told youu201d). Throughout the film, the director Jordan Peele uses the sense of sight to amplify imbalances of power and controlu2014imbalances often drawn along racial lines. Related Story Get Out Is a Fu
y and Brilliantly Subversive Horror Film Notably, Chris is a photographer, and apparently a very good and respected one. Get Out introduces viewers to him through his art: Before we even see Chris, weu2019re shown black-and-white prints of his work on the walls of his Brooklyn apartment in a sequence set to Childish Gambinou2019s u201cRedboneu201d (u201cNow donu2019t you close your eyes …). Itu2019s the kind of collection that could be reasonably described as u201crawu201d and u201chonest,u201du2014unpretentious snapshots of New York streets and the diverse range of people who spend time there. The main plot quickly spins into motion as Chris and Rose set out on their trip, but in its first minutes Get Out has already established that Chrisu2019s professionu2014he is basically a trained observeru2014will be crucial to the rest of the story. What he notices, and doesnu2019t notice, will take on a life-or-death importance. Chrisu2019s job is an excuse for him to bring his trusty DSLR with him to the Armitage residence. Constantly slung around his neck, the camera functions as a kind of protective shield between Chris and the odd behavior he encountersu2014namely from the familyu2019s large group of white friends and neighbors, and their two black house-servants, Walter and Georgina. The camera simultaneously creates distance and closeness between Chris and his subjects; itu2019s a way to both observe and to escape. Itu2019s through this lens that Chris manages to spot another black person (Lakeith Stanfield) at one of the Armitagesu2019 gatheringsu2014but when Chris goes to introduce himself, the other man turns around with a glassy, far-off stare and introduces himself as Logan. From his eyes, itu2019s immediately obvious somethingu2019s wrong.”

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