Pt.2

• 1

  The extremity of trauma and its repression pervades the Sunken Place scene.
• 2

  Through this Peele comments on the “epidemic of young African Americans being raised by single mothers” resulting in children being “expected to take on responsibility of parent” complying with his amalgamation of the horror and social commentary genres, resulting in “social horror”.
• 3

  Missy’s initial conversational, inviting demeanour shifts to a carnal, intimidating tone, shown through her white shawl draped over a black camisole and leggings, a physical symbol of whiteness encroaching blackness, alluding to the events of the ‘Coagula’.
• 4

  The fast-paced editing of the dialogue exchange emulates the discomfort Chris feels being interrogated.
• 5

  Chris’ head tilting and awkward smiling conveys his disengagement with the subject of his mother, epitomised through the graphic match cut of his hands scratching the edge of his seat.
• 6

  The focal point of Missy’s teacup weaponises Freud’s Psychoanalytic Therapy to replicate conditions in his childhood, overlapped with the sound bridge of incessant rain.
• 7

  This creates a paralysing soundscape as the music climaxes “I can’t move" Kaluuya’s mouth and eyes ajar as a single tear falls, capturing his visceral emotion as he is transported into the Sunken Place.
• 8

  Chris’ slow-motion descent into the SP was achieved through VFX and Kaluuya being on wires.
• 9

  The various ECU’s and subjective long shots from the TV screen POV, culminates in the SP replicating the womb, Chris yearning for his mother’s protection as he is entrapped within his trauma.
• 10

  This also reflects the constructed quality of the Armitages, aided by the previously cacophonous double-stopped string quartet, halting to a subdued sound, replicating a place of incubation.