Check out two excerpts from “Us”, the new film-shock Jordan Peele, who needs to “Get Out”. In cinemas from Wednesday. After the surprise success of ” Get Out (1.1 million spectators in France and the Oscar for best original screenplay), as saying that Jordan Peele was expected at the turn. It has emerged thanks to the comedy duo Key & Peele, however this is with the registry horror as it exploded in the eyes of the general public. In Us, it follows the members of a family look blooming and ordinary who are facing the worst of all threats : their own double. This idea, it is not gone to look far : “I always start with my own demons. That is what terrifies me ? Here it was the idea of see me, and then I asked myself what was so terrible in the fact that you can see. In fact nobody wishes to face his own fears, his guilt, his demons”. Like his first film, the Us is thus a political film that, behind the guise of a thriller horror, evokes a watermark of the social issues, here the fear of the foreigner and the end of the american dream. Us EXTRACT VO "Call police" one of the biggest challenges of the film was to play at each of the four main actors two characters. To make things easier, a scene was tour from the point of view of the Wilson family and then that of the double evil. A logistical headache headed by Grady Cofer, the supervisor of special effects. Each actor had two liners (waterfall and light) for his role, and two for his double, or 4 in all. Cofer said : “in one scene, for example, with Adelaide, you’ll find yourself in the presence of Lupita [‘nyong o], its light lining, the lining on the cascades, and then the light lining of Red and the lining on the cascades. Then when the whole family was on the plateau you had 5 Winston [Duke], 3 with glasses, and a sweat of Howard University, and 2 in the red suit… and so on…” Us : Hitchcock, Halloween, the Lost Generation… The inspirations of the new film-the shock of the director of Get Out The sequence of the ballet of the nutcracker has also been challenging for the choreographer Madeline Hollander, who had split the number in two solos that respond. It was necessary that the character of Red to act as a puppet guided, in spite of himself, by the movements of Adelaide : “An exercise completely schizophrenic in that the dancer must interpret the rider and the fairy at the same time. For this I decided to use the walls to the worn and do two choreographies reversed to that they are, in a strange way almost evil”.