Jordan Peele revisits Hollywood legends

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In the deserted landscape of American cinema, torn between the pathological inflation of blockbuster films and the platform-led consolidation, BobJordan Peele’s third feature film, released without fanfare in the middle of summer, delivers euphoria we rarely get lately. It will be enough for him to invest the field of the big Hollywood scene with a real (but not only) aesthetic ambition, to restore even a little confidence in his own destinies. after a blast Get out (2017), followed by we (2019) A more frosty, behind-the-camera comedian accomplishes with Bob A true dream of popular fiction, it melds depth of fiction with epic horizons, revisits Hollywood legends to breathe new life into them, and returns to primal sources of cinematic pleasure and wonder.

Read also: This article is reserved for our subscribers “You can no longer tell stories from the white point of view alone,” director Jordan Peele gives color to great American myths

The film’s success is due first and foremost to very simple, even elementary things, that Hollywood seems to have forgotten: taking the time to set the scene, summon the characters, and prepare a situation in order to explore them all. The possibilities, before you push them to their limits. Story of the BobIt is an untranslatable voice-over that means flaky rejection (“nan”), and revolves around a family of horse trainers, the Haywoods. They work in the film industry and are descendants of the first black immortalized in motion, a knight who appeared astride on popular series on photographic plates by Eadweard Muybridge (horse in motion1878).

No story It is about the Haywoods family of horse trainers

After the accidental death of their father, OJ (Daniel Kaluya) and sister Emerald (Keke Palmer), the former is an introvert and the latter, quite the opposite, holding the family farm an arm’s length away, in the small town of Agua Dulce, on the edge of the California desert. Due to an apparent lack of conviction, they lose the last decade still binding on the film’s sets. Sadly, OJ sells one of his newest monsters to the local “Western” amusement park, run by Joby (Stephen Yeon), a former child star of sitcoms turned entertainment cowboy.

One evening, OJ surreptitiously saw in the sky what looked like a flying saucer. Brother and sister sniff an opportunity here: If they can snap a usable photo for TV (ideally for the Oprah Winfrey talk show), fame and fortune will come in handy. They enlist the services of a technician, Angel (Brandon Perea), who supplies the farm with a battery of surveillance cameras, as well as Antlers Holst (Michael Wincott), the chief operator who specializes in extreme conditions photography. The four of them set up a small commando, but soon realized that the “thing,” camouflaged behind a motionless cloud, sometimes causes violent tornadoes, is not exactly a flying object.

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