Female Film Critics 24/375
The brilliant writer-director deftly avoids the dreaded sophomore slump following his socially conscious 2017 Oscar-winning blockbuster “Get Out,” for which he became first African-American screenwriter to win the Academy Award for best original screenplay, by crafting an even more ambitious, frightening and twisty thriller.
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Us follows the Wilson family of four who arrives in Santa Cruz, looking forward to spending quality time at the beach, enjoying each other’s company, and loving life. But uninvited guests at their doorway that look exactly like them interrupt their plan with an attempt to kill the whole family.
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Once you’re caught red-handed as you symbol-hunt then navel-gaze in a un-fun-house mirror, once you’re through hoping Us is more than the noise of Michael Abels’ music or N’yong’o’s growl as Red, once you’re finished hoping that humor shines through the red blood off the golden scissors, you still have to sit through Us.
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In 1986 at California’s Santa Cruz beachside amusement park, young Adelaide (Madison Curry), clutching a candied apple, has a terrifying experience after wandering into an eerie ‘funhouse of mirrors.’ It’s so traumatic that she’s never discussed it – with anyone.
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This year, South by Southwest Film Festival felt like a declarative celebration of women’s stories and female filmmakers. From its diverse slate of narrative, documentary, and short films to its Grand Jury and Audience Awards, at the core of its programming were films made by and about women.
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