The Mystery in the Center of Us is the essence of the "tailed" doppelgangers who track Adelaide Wilson (Lupita Nyong'o) and their family. They look almost identical except for a lot more malicious behavior and uniform red overalls, sandals and gold scissors. For most of the film we ask ourselves: who are they and what do they want?
Gradually, the answers take shape, but even after the smoke has dissolved and the dust subsides, director Jordan Peele is not ready to take his audience. He is more concerned than questioning the plot.
[ Ed. Note: follow large spoilers for Us .]
For a happy moment at the end of Us the Wilson family seems to be completely out of the woods. Their doppelgangers have been defeated, and they're in a car that drives far away from the line of tethereds across America. However, Adelaide's young son Jason (Evan Alex) feels that something is wrong and stares at his mother suspiciously from the other side of the car. Every time he witnessed her turn to violence, her behavior was somewhat unsettling. A guttural breath here, an animal cry there; It's not all as it seems.
In fact, while Adelaide is driving, the movie once again flashes into the fateful night on the boardwalk as she hits her double. This time we see that the "shadow" has overcome the "real" Adelaide, allowing him to live with the Tethereds while taking their lives above the earth. The Adelaide that drives the car – the Adelaide we've campaigned for – is the doppelganger. The call came out of the house all the time.
Peele takes care not to use the tethered rogues as veritable villains, even if they want to assassinate the leading actors in the film. In an early scene, Red, Adelaide's doppelganger, explains that her malice is due to the fact that her agency is completely withdrawn from the expectation that her life would accurately reflect Adelaides and the inhuman conditions that would affect the people bound in her underground lab has been.
This last twist adds a whole new twist to this knowledge The captive Adelaide had managed to escape this life and knew she was condemning the real Adelaide to the nightmarish life she had left behind. It gives the film the point of view that it is our own worst enemy – the thing that we thought was Adelaide was Adelaide all the time.
In addition, the Adelaide revelation makes one point about how badly we treat people we somehow perceive as "others," although in reality (just a little less literally) they are just like us. Although the Adelaide, whom we pursue throughout the film, is hard-hugged, she protects her family and seems to really care about the welfare of the children of her doppelganger – she behaves no less like a horror movie hero, not even taking extreme measures to escape her past life.
The notion of such prejudices and the blind eye is explicitly given in American society of the present; "This movie is about this country," said Peele at the film premiere on the SXSW. One of Red's first answers to Adelaide's question of who they are is to say, "We are Americans." The use of hands in America – 1986 Campaign to build a human chain across the country to raise money to help people in poverty – as a plotter also puts the film in a certain time zone and underlines the film's point of view Complicity in worsening circumstances is ignored for fringe groups. Hands Across America raised $ 34 million to fight hunger and homelessness. After operating costs, less than half ($ 15 million) was actually distributed to the needy.
At a higher level of galaxies and the brain, the reference to the Bible verses within the film (Jeremiah 11:11) may also be considered significant, the numbers are doubled, and the verse in question is ominous enough. Its source, the book of Jeremiah, deals with the exile of the Jewish people in Babylon, which may be a consequence of the circumstances of the bound. (It is more probable that Jeremiah 11:11 was only the most fitting 11:11 in any biblical text, but since Peele has repeatedly insisted that Us is filled with references and meaning, we will not leave a mark
The revelation about Adelaide's true nature also twists the monster's horror throne the end After it's supposed to have been defeated, the question of who the real monster is, if any, is cast doubt on … Throughout the film, Peele overcomes several horror tropes: the terror of a Heiminvasion, the fear of attacking the place playing at which one feels most secure is reinforced by the fact that the attackers are copies of the characters, the power of laughter to dispel the fear is exploited by Peele Humor in all areas reserved and armed; and the daylight is as scary as the dark as the last section of 19459003 Us . However, it is the final twist that serves as the icing on the cake and what holds the whole movie together.
It will remain frustrated that Us does not fully explain how the arresting underground has arisen or survived, what the ultimate plan for the re-enactment of Hands Across America should be, or even where the Wilson's on Would end. But that's not exactly what Peele is up to. Us makes it impossible to point fingers to bad guys and heroes, and the filmmaker questions our instinct to do so. If the hero is the alleged monster, the monster reveals itself as the hero we thought we would follow, and both are justified in their actions, forcing a further interrogation not from the story but from our own person.