The Horror and The Work: What Get Out Teaches Us

My favorite genre of film is thrillers, mental or psychological. They prove there is more to horror than death or, even, dying — however gruesome the details, however panicked the situation. So, I was excitedly anxious when I heard about Jordan Peele’s directorial debut, Get Out, a film that would showcase the terror that exists in the everyday, the mundane — the moments we might not classify as horrific. Editor’s Note: Yes, this is a new take on Get Out. Yes, we’ve covered the film in video form with Omar and Nicole and we even penned an open letter to the White Outrage that presented itself before the film premiered. We were sent this unique take on the movie and wanted to share it because many parts of Chris’ situation continue to mirror our own and that’s worth a continuing discussion. It isn’t something that many of us can forget nor ignore, even months past. It was no surprise to me that, while watching Get Out, I found myself squirming through moments that had not nary a drop of blood or a blunt object to the head. Chris, the film’s protagonist, is in an interracial relationship with Rose, a (basic) white woman who wants him to finally go to her childhood home and meet her parents. And this is where the horror starts. At the invitation. The first thing Chris asks upon hearing this request is whether or not her parents know that he’s Black. To which she replies, no. Because, it doesn’t matter. Because, of course, her parents aren’t racist. Because, if they were, she wou…