Nope 2022 Review

Nope 2022 Review

In the perverse mechanical construction of the desire, the pleasure generated fades necessarily when it leads to satisfaction, the trailer plays a crucial role. It is a language gladly cryptic, a digest of the facts, a patchwork of sensations, a slicing so selective that it shows as much as it obscures. As much stimulation for our imagination, and excitations to go and see, later on, how the building will stand, and will keep its promises.

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In two films, Jordan Peele has managed to excite the planet cinephile: the audacity of its projects, the originality of his stories and a master’s undeniable the stage at the service of fear, Get Out and Us have already placed their director on the board of filmmakers to watch closely. Waiting for Nope was so immense, and the trailer had checked all the expected specifications to excite the audience in the summer.

Away resolutely from the political dimension of his first two games (racial, and social), Peele doesn’t sacrifice for all its ambitions to write. Nope is his greatest movie theatre, in which he fully embraces the heritage of its predecessors, calling the imagery of the western and the grammar of the thriller thrillers (the shadow of the giant Spielberg hovering in each sequence, the Teeth of the sea to the War of The worlds, in passing, of course, by Encounters of the third kind), and up to the Japanese animation. If the references are sometimes a little redundant (while the gimmick of power outages and music), and that the invariants of the horror film (false alarms, jump scares, etc) are somewhat systematic in the first half, the director knows how to skillfully exploit them to best rid thereafter.

Nope 2022 Review

Because the question of the code and its exploitation by the industry of the image is the subject of the story: even if Peele is not shining here by originality crazy, the meta being a major item on the agenda, the manner in which it addresses is still pretty exciting. Everything is a question here of operating, starting with that of animals, tamed and domesticated to the needs of enough criticism of human recreation: creatures that we do not understand, and of which the only form or expression of interest. A process that necessarily leads to a rupture, and the illusion of control by the man who will be ready, killing or devouring in return.

This perhaps explains the absence a little intriguing incarnation of the human figures, quite passive, and mired in a space too large for them, and in the quest finally derisory of the “perfect shot”: this table is quite corrosive of the Hollywood industry, it does not poll the background: it wants to capture and monetize the form. All the characters continue this obsession with the plan that proves what they see, and how it will ensure wealth and fame – a way, as to return to an era where the image engraved on social networks outperformed the individual experience that it is supposed to illustrate.

Peel seeks necessarily to stand out from the vanity, that it is by his gaze above or a desire of writing that can transform the linearity a little bit nerdy for most of its protagonists. This justifies the use of a narrative that is mysterious, which offers a prologue and a central sequence to the undeniable impact, but woven with narrative and main are sometimes stretched, how presumptuous and functions of another elder, the tired Shyamalan.

Of course, we will be able to make the link on the report to the animal tamed, and the fact that not looking him in the eyes saved the young actor became too sure of himself as to its ability to transform everything in the show legendary. But this does not explain the position of this shoe, which suggests a report to the paranormal which is therefore here that pure coincidence…Peel multiplies the thematic links and symbolism (the balloons popping and frightening the monkey also announce the years, and final lure the alien), but fun to disseminate that to really build a sense of.

But the filmmaker does go the wrong way, not a long time in these to-sides: solidarity (and creator) of the project of its protagonist, he puts all his efforts in the sequences of appearance and mastery of progressive phenomenon. While we strive to place surveillance cameras and strap a space where the invisible makes his own (in the wake of a film which was already the heir of Spielberg, namely, Super 8), Peele offers landscapes to the extent iconic, plays with the sky, the clouds, the wind and the aridity of the land, offers nights at the strange clarity and is powered with a clever mix a gradation of its effects.

The length of some scenes turns to a form of formal abstraction a very pleasing result, emphasized in particular by the humour with regard to the weakness of the protagonists in the face of the phenomena to which they face (hence the ” nope ” self-titled) and a disruption of the rhythm or spaces, where the hyperbole, after having been challenged by the blockbuster, finally found its force, because it is accompanied by fear, speed and malice.

Nope, after the miracle of Top Gun Maverick this year, is a further testimony of the love for the cinema room, and the Imax experience is particularly relevant. The variation of formats, especially in the vertical position, opens up breathtaking perspectives, in osmosis with this great attempt to lead from the earth to the threat from the sky.

If the expression “lesson of cinema” has become hackneyed to sell a film, it really takes on its full meaning here: the learning of the characters is to make the space a backdrop to a graph, disseminate cookies (great idea of air dancers sinking down to signify the presence of the entity) and to construct illusions to overcome, in a sort of rodeo cosmic, a wild power. The obsession for the image (the gestures of gaze between brother and sister, video surveillance, hyenas journalists, the filmmaker’s dark face stock images of untamed nature…) goes up gradually in the course of the story (it’s not surprising that it convenes Muybridge as the founding father) for a camera handle, a silent film without dialogues and shots mechanical.

Peele, in the exploration of science-fiction, takes also care not to sacrifice too much technology: the creature, all of the stretched canvases, is organic and plays with the clichés of the pure flying saucer before you deploy with amazing creativity. The quest of the frame, however, in view of this criticism, an item to exceed: while the heroine does not cast even a glance at the snapshot, the director replaces a plan iconic of his brother alive and well. It is certainly past the vanity of the image (the ” Oprah shot “) to that of human contact. But in the meantime, Peele has made its protagonists a female version of Kaneda and the return of the cowboy legendary : the survivors, fed to the legend, became the characters. The cinema, for our greatest pleasure, wins.

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