Warning: This article contains the main spoilers for Nope.
Jordan Peele’s third directorial work, No, is finally coming out in cinemas and introduces fans to a completely new world of horror, intrigue and symbolism in the director’s bright and meaningful style. After the incredible success of the films “Away” and “We”, Peel reminds the audience what makes his films so memorable.
The projects from Peel’s filmography are fantastic for re-viewing, primarily due to the director’s masterful use of omens. At the beginning of the first acts of his films, Peel reveals his hand only so that the audience can piece together the true meaning of his hints at the very end of the story.
Deer (Go away)
“Away” is one of the best thrillers of the 2010s, filled with symbolism and hidden meaning, which inspires numerous views. At the beginning of the plot, the film hints at the final fate of Chris when, on their way to visit the Armitage family with his girlfriend Rose, the couple hits a deer on the highway. Chris and the dying deer exchange strange knowing looks, as if they are somehow connected.
While the deer symbolizes many things for Chris, including the tragic loss of his mother, who also died in a car accident, it most prominently represents his salvation. Later, he used the head of a riding deer to impale Dean Armitage, who officially declared his hatred for the animal, thereby giving Chris the opportunity to escape from the treacherous family.
Good Eye (Go away)
After escaping from the strange party-goers at the Armitage family party, Chris meets a blind art dealer, Jim Hudson. Hudson praises Chris’ photos, which he has dealt with several times. As a fan of his work, Hudson tells Chris that he has a “good eye” for his craft.
As it becomes clear in the third act that the Armitages were kidnapping blacks to steal their bodies for high-profile clients, it also turns out that Chris’ body was bought by Hudson himself, who wants to get his sharp eye for himself. Fortunately for Chris, Hudson never fulfills his wish and probably dies on the operating table after Dean is killed during a brain transplant.
The next victim (Go away)
In “Away,” Rod talks on the phone with Rose Armitage several times. In the first one, they playfully banter, teasing the romantic attraction between them to playfully hurt Chris. This moment, however, will return later to bite Rod when he is washed by a chilling revelation regarding Rose’s intentions regarding his future.
Rose’s villainous exposure is one of the greatest romantic betrayals in cinema, when she betrays her boyfriend to her abnormal family. However, it also becomes clear that she intended to make Rod her next victim, even trying to seduce him when he called to ask about Chris. Although Rod had already deduced her reliability, if everything had gone according to her plan, Rod could very well be the next person whose body was stolen by the Armitage family.
Hands all over America (USA)
At the very beginning of “Us”, a promotional video of the “Hands Through America” fundraising campaign is shown, including the logo of the organization, which depicts red sticks clasping hands. This image, which at first is completely incomprehensible to an audience familiar with charity, turns out to be very important for the finale of the film.
These symbolic images come into play again in the final moments of the film, when it turns out that other Tethers have appeared all over the world. These doppelgangers join hands, creating a chain that stretches for miles, perfectly reflecting the image from the advertisement, as well as making a bold statement that the world will never be the same after “Untying”.
Find yourself (we)
When young Adelaide Wilson, one of the best characters in any of Jordan Peele’s films, leaves her parents in the prologue of Us, she finds herself at the entrance to the hall of mirrors. Advertising on the outside of the attraction promises that consumers will be inside, although this sign turns out to be much truer than anyone would like.
The promise that the participants will “find themselves” in the hall of mirrors, although somewhat by ear, turns out to be quite literal, since Adelaide stumbles upon herself Tied up. However, the significance of this scene is twofold, as her double will also symbolically “find herself” by reinventing her identity as the original Adelaide, stealing the life of her unwitting double.
Quiet Phase (USA)
After the incident with Adelaide on the beach, it turns out that she hasn’t spoken to her parents for several weeks. Thinking she was traumatized after getting lost, Adelaide’s parents are desperately working to help their daughter return to her normal state, not knowing the true reason for her endless silence.
