NOPE goes beyond being just a UFO movie and becomes an epic story about the history of cinema itself. The “sequence of moving horses” at the start refers to Eadweard Muybridge’s early motion picture experiments and highlights how the Black jockey in those images was erased from film history.

Photos made by Eadweard MuybridgeAnimation by User Waugsberg – The sequence is set to motion using these frames (Human and Animal Locomotion, plate 626, thoroughbred bay mare “Annie G.” galloping), パブリック・ドメイン, リンクによる

Director Peele positions this film as a revenge for these “nameless ones.” The structure, where people exploited by the film industry and erased from history—especially people of color and animals—now exact revenge on the “viewers,” is truly ingenious. The UFO entity functions not merely as an alien, but as a warning to us, the audience, who have exploited others through our one-sided “viewing.”

Balancing Love and Critique for Spielberg

NOPE is made as a clear tribute to Steven Spielberg’s films, especially Close Encounters of the Third Kind and Jaws. But instead of just copying, Peele flips Spielberg’s famous “looking up” shots. In Spielberg’s movies, characters look up in awe or fear, but in NOPE, the rule is “Don’t look” or “Don’t look up.” This twist shows how Peele wants us to think about what it means to “see.”

Daniel Kaluuya’s character, OJ, breaks away from the usual stereotypes of Black characters in horror movies. He is quiet and introverted, and his deep bond with animals helps him survive. Kiki Palmer also shines as Emerald, whose character grows from being ambitious and shallow to a strong woman motivated by family and responsibility. The final scene where the siblings look at each other is especially touching and likely to move viewers to tears.

This film builds on the socially conscious horror that Peele started with Get Out, but on a much larger scale.

Visual Beauty and Technical Innovation

Hoyte van Hoytema’s cinematography is a standout feature. Using 65mm IMAX techniques perfected in Interstellar and Dunkirk, he captures California’s vast skies and landscapes in stunning detail. The way the sky is filmed keeps viewers on edge, always wondering if something is hiding there, much like the ocean in Jaws. Watching on a big screen or home theater really lets you feel the film’s massive scale.

The film’s technical achievements are also impressive. By making the act of filming the UFO central to the story, the visuals and plot work closely together. In a time when digital media is everywhere, choosing film photography shows a genuine love for the craft. The moment when the old hand-cranked camera wins out is a clever nod to film history and raises questions about today’s technology. It also makes us think about the value of analog methods in our digital world.

Questions for Modern Society and the Film’s Theme

Knowing that this film was created during the COVID-19 pandemic adds another layer to the story. It asks what is truly worth seeing in a time when lockdowns made significant events disappear. With social media and TikTok turning everything into content, the film’s look at the “violence of watching” feels very relevant. At the same time, Peele’s ability to turn this critique into an exciting movie is impressive.

Still, the film’s two-hour length feels packed with characters, and some don’t get enough development. For example, Angel (Brandon Perea) is interesting, but we don’t learn much about his background. The horror is also less intense than in Peele’s earlier movies, but this seems like a deliberate choice to reach a wider audience. Since the film is meant for home viewing, making the horror less extreme was probably a smart move.

Summary: A Contemporary Masterpiece Reexamining the Meaning of “Seeing”

NOPE marks a new step for Jordan Peele, going beyond his earlier socially conscious horror films. On the surface, it’s a fun and exciting movie, but it’s also full of deep thoughts about film history and strong critiques of today’s world.

What really makes the film stand out is its complex structure. It criticizes the harm in watching, but also celebrates its beauty. As viewers, we are both part of the problem and affected by it, which leaves a lasting impression after the movie ends.