Emerald, who is very much a communicator, is an aspiring filmmaker and actor for whom the horses are just a job, and not a very pleasant one. O.J., who loves the horses and works devotedly with them, is something of an introvert he isn’t the communicator-the on-set presence-that his father was. Neither of the heirs, though, is entirely cut out to fill Otis’s shoes. (Daniel Kaluuya), and Emerald (Keke Palmer). The farm is taken over by his two children, Otis, Jr., called O.J. (Keith David), dies mysteriously after being hit by a bullet-like piece of space debris that showers the property.
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Peele’s film is set mainly on a horse farm in California, Haywood Hollywood Horses, that provides the animals as needed for movies and TV shows and commercials. It is an exploitation film-which is to say, a film about exploitation and the cinematic history of exploitation as the medium’s very essence. “Nope” is one of the great movies about moviemaking, about the moral and spiritual implications of cinematic representation itself-especially the representation of people at the center of American society who are treated as its outsiders. “Nope” is a phantasmagorical story of Black people in the American West, the unwelcome among the unwelcome, and it’s set in the present-day West, namely, Hollywood and the Hollywood-proximate, the very heart of Wild West mythology. Peele takes the concept many ingenious steps further. But even that premise bears an enormous, intrinsic symbolic power, one that was already apparent in a much slighter precursor, Jon Favreau’s 2011 film, “ Cowboys & Aliens.” Like “Nope,” Favreau’s film involves the arrival of creatures from outer space in the American West there, it was already apparent that what the genres share is the unwelcome arrival of outsiders from afar (aliens are to Earth as white people are to this continent).
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There’s plenty of action in Jordan Peele’s new film, “ Nope,” and it’s imaginative and exciting if viewed purely as the genre mashup that it is-a science-fiction movie that’s also a modern-day Western. The essence of the cinema is the symbol-the filming of action that stands for something else, that gets its identity from what’s offscreen.