Director/writer Jordan Peele calls his film Get Out a “social thriller,” and if you’re like me, your newsfeed has been saturated with tasteful Vaguebooking about the film. But Get Out can be described, with equal accuracy and without spoilers, as a “contemporary apocalypse.” Apocalypse has become Hollywood shorthand for the highest possible stakes of an action sequence–any film that uses the destruction of all human life as a plot device. But in the traditional sense, apocalypse represents an entirely different genre of literature.
Classical apocalypse has less to do with annihilation than regime change. The Greek word apokalypsis means revelation, or uncovering. it’s a genre of literature–much like horror.
Get Out is a social thriller in the sense that it uses social evil (racism) to heighten an otherwise traditional horror film. I’d be lying if I said I didn’t spend 15 minutes with my hands over my eyes (but I only see four movies a year and have a low tolerance for visual violence so don’t listen to my definition of scary). A black man accompanies his white girlfriend’s family in the suburbs (a terrifying enough premise on its own), and everything you know (and don’t know) about horror film ensues. I’m not a fan of spoilers, though, so what follows is fairly obtuse on plot details.
Get Out is apocalyptic the same way that Revelation–and other books of the Bible–are social thrillers. The plot hinges on a systemic oppression, laden with specific and symbolic details, reaching a low point and with the hope that a protagonist can interrupt the systemic oppression, regardless of personal cost or total efficacy.
In a sense, apocalypse is a Quentin Tarantino-esque fantasy about future or past envision the triumph of the oppressed over the oppressor, resulting in the total collapse of the oppressor’s social structure. This is where our contemporary view of apocalypse comes from: the collapse of the oppressor’s social structure and all the fear that comes with losing the social order. Continue reading