AFI Movie Club: GET OUT – American Film Institute
Get Out Film Still - Daniel Kaluuya


AFI Movie Club: GET OUT

Jordan Peele’s critically acclaimed GET OUT is both a psychological thriller and a deft social satire on racism in America. The film was honored with an AFI AWARD in 2017, recognizing it as one of the 10 outstanding films deemed culturally and artistically representative of the year’s most significant achievements in the art of the moving image. 

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GET OUT – Reelgood

“He reignited interest in the horror movie as a delivery system for a social message.” Watch the full AFI Movie Club conversation with film critic Shawn Edwards and producer extraordinaire Jason Blum about GET OUT:

Watch cinematic milestones from decades past that have led to today’s story:

In this exclusive AFI “Behind The Scene” featurette, GET OUT Producer Sean McKittrick and Co-producer Beatriz Sequeira (AFI Class of 2003) talk about the making of today’s film:

Movie Trivia About GET OUT


Jordan Peele was inspired by Eddie Murphy’s classic 1983 standup routine “Delirious” in naming the movie GET OUT.   


GET OUT marked Jordan Peele’s feature film directorial debut. With GET OUT, Peele became the first Black writer, producer and director to earn more than $100 million in a debut film. 


Director Jordan Peele was inspired by classic horror films such as NIGHT OF THE LIVING DEAD, ROSEMARY’S BABY and THE STEPFORD WIVES in the making of GET OUT. The opening scene is partially inspired by the opening of HALLOWEEN, which Peele described as a subversion of “the perfect white neighborhood.” 


The original opening to GET OUT was a lot longer, with the abduction of Andre Hayworth (Lakeith Stanfield) taking place right outside a home where a white family is talking about a trip to Disneyland. The scene was truncated to keep the focus on Andre’s disappearance. 


GET OUT composer Michael Abels said that for the film score Jordan Peele “wanted African American voices in the score that would represent the African souls lost from slavery, lynchings and other social injustices” who would serve as Chris’ tie to his ancestors, while also warning him of the danger that lay ahead. 


The film was nominated for four Academy Awards® – Best Director, Best Actor, Best Picture and Best Original Screenplay, which Jordan Peele won. With the win, Peele became the first-ever Black writer to receive an Oscar® for Best Original Screenplay. 


GET OUT originally had a darker ending. Initially, Chris was arrested for killing Rose and her family and then taken off to jail. However, when the filmmakers tested this ending, audiences were disappointed that things didn’t work out for Chris – and Peele realized a happier ending, where Rod comes to save Chris, would be more satisfying. 

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The movie doesn’t end at the credits: Family-friendly Discussion Questions

Join the conversation on Twitter and Instagram now using #AFIMovieClub. Or post your responses in the comment section below.

-How has Jordan Peele elevated the horror genre through social commentary? 

-How does GET OUT serve as an allegory about black identity? 

-What does the film have to say about casual racism, particularly among white individuals who would consider themselves progressive people? 

-What are more subtle forms of racism, often known as benevolent racism, depicted throughout the film? 

-What did you think of Chris and Rose’s relationship? Did you ever suspect Rose had nefarious intentions? 

-What does “The Sunken Place” represent in the film? 

-Why was Walter sprinting late at night in GET OUT? What did this signify? 

-Where can you see the influence of NIGHT OF THE LIVING DEAD, ROSEMARY’S BABY and THE STEPFORD WIVES in GET OUT? 

-How does the film embody what W. E. B. Du Bois called “double consciousness” in his 1897 work “The Souls of Black Folks”? In it, he describes “double consciousness” as “always looking at one’s self through the eyes of others, of measuring one’s soul by the tale of a world that looks on in amused contempt and pity.” 

-Jordan Peele wrote and developed the film during the Obama administration, a time when many thought racism was over. Why is the premise that we’re living in a post-race society a myth, and how does the film address the ongoing struggle with race relations in America? 

-How would you rate GET OUT? 

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