Home Entertainment The 13 cinéfilas references of ‘Let me out’ that maybe you had...

The 13 cinéfilas references of ‘Let me out’ that maybe you had escaped

The 13 cinéfilas references of 'Let me out' that maybe you had escaped
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‘Let me out’ -‘Get Out, 2017’-, the overwhelming debut in the direction of, to date, American comedian Jordan Peele, has become one of the great landmarks of genre film in recent years. Not only has he left all those who profess an unconditional love for horror films amazed, but also, his peculiar and risky proposal has managed to triumph among the critics, rising to the number one on the Sight & Sound list of the best feature films of the year.

Just over half a year after its release, thanks to the audiocomentarios track that includes the domestic version of the film, we have discovered that this instant classic, which his director likes to describe as a cross between ‘The perfect women’ and ‘Maids’ and ladies’, hides a good handful of references cinéfilas of the most curious -and subtle- that we will reveal to you next.

The labyrinth

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During the first scene of ‘Let me go out’ we find the first of the movie’s many references to ‘El resplandor’ ; one of Stanley Kubrick’s masterpieces. The character of André, lost in a residential neighborhood, mutters to himself “this looks like a hedge maze” ; phrase that refers directly to the space in which the climax of the film starring Jack Nicholson takes place.

The neighborhood

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In the same scene, Peele admits to have overturned all the devotion she feels for the legendary ‘Halloween night’ when trying to wrap the scene of the aura of “perfect white neighborhood” that transmit the streets of Haddonfield in which the film is set John Carpenter.

The threat at night

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To finish with the opening scene, let’s look at the white car -no, the color is not casual- that stalks André in his nocturnal walk. According to Jordan Peele, when he planned and shot these plans, he had in mind the threat of Steven Spielberg’s ‘Shark’ shark and John Carpenter’s ‘Christine’ homicidal vehicle.


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The source of inspiration to create the title of the film that appears on the plane in motion of the trees that surround a road is, again, ‘The glow’. The blue color of the typography is the same that Kubrick used in his film, also sharing the forestry leit-motiv both films during their sequences of credits.

The tour through the house of the Armitage

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The Stanley Kubrick classic has a new hidden reference during the presentation of the home of the Armitage. Peele wanted to execute the description of the space in which the action takes place by means of a kind of “guided tour”, just as in ‘The Shining’ we know the Overlook hotel when Jack Torrance and his family are guided through its immense facilities. According to Peele, using this resource ” helps to create tension, help with terror, and you can get to imagine what kind of things we will see in this house later”.

The meeting with Georgina

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The encounter with Georgina, the servant of the Armitage, hides a double reference. The moment in which Chris and Dean find her laughing and smiling in the kitchen, she intends to evoke the figures of the twins of ‘El resplandor’ and that of Doctor Hannibal Lecter from ‘El silencio de los lambos’. Presences calm, static and, in turn, tremendously threatening. Peele says that “only the feeling of finding someone waiting for you patiently gives bad news”.

Walter’s night career

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“Having someone running towards you or creating a physical and visceral reaction on the audience . ” This is how Jordan Peele points out one of the best moments of his film, in which Walter runs directly towards the camera ; flat that was directly inspired by the Alfred Hitchcock film ‘With death on the heels’.


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The sequences of hypnosis that are distributed throughout the footage of ‘Let me out’ hide a strong point of inspiration in ‘The Silence of the Lambs’ by Jonathan Demme. The way in which the diverse ones were filmed between Clarice and Lecter, with close-ups and direct looks to the camera , is replicated by Peele in the sequences in which Chris is induced to a trance state.

Fleeing chaos by cutting

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In certain moments in which the tension grows considerably in ‘The Shining’, Stanley Kubrick decides to cut suddenly the personage of Halloran, completely alien to the situation. Jordan Peele does something similar when he cuts off abruptly the sequence in which they capture Chris to see what his colleague Rob is doing, who acts as a savior in a way similar to the Overlook cook.

The television revelation

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The last reference is doubled again, and it is located at the moment Chris sees the video tape explaining the surgical procedure to which he is going to be subjected. Jordan Peele’s intention was to resemble the scene in which Morpheus tells Neo the truth about the real world in ‘Matrix’. In addition, the director wanted to give the video the tone of the recordings of the Initiative Dharma of ‘Lost’.



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