Basic Info / 基本情報
| English | 日本語 |
|---|---|
| Director | Jordan Peele / ジョーダン・ピール |
| Year | 2017 |
| Running Time | 104 min (1h 44m) |
| Genre | Horror, Thriller / ホラー、スリラー |
| Production | Universal Pictures, Blumhouse Productions, QC Entertainment, Monkeypaw Productions |
| Box Office | $255.5 million (Worldwide) |
Synopsis / あらすじ
[English / 英語] Chris Washington (Daniel Kaluuya), a talented Black photographer, is deeply apprehensive about meeting the parents of his white girlfriend, Rose Armitage (Allison Williams), during a weekend getaway to their secluded upstate New York estate. Upon arrival, Rose’s father, Dean (Bradley Whitford), a neurosurgeon, and mother, Missy (Catherine Keener), a psychiatrist, offer an effusive, almost performative welcome, repeatedly assuring Chris of their liberal bona fides. However, the atmosphere quickly curdles as Chris encounters the family’s Black domestic staff, whose behavior is chillingly robotic and detached. During an annual garden party, the microaggressions of the wealthy white guests escalate into a surreal and predatory fascination with Chris’s physical attributes. Despite the frantic warnings from his best friend Rod (LilRel Howery), Chris initially dismisses his own unease—until a terrifying discovery reveals the Armitages’ true, parasitic intent. The film poses haunting questions: What predatory desires hide beneath the facade of liberal enlightenment? Is the “post-racial” promise merely a new form of subjugation? And in a society built on exclusion, is the ultimate horror the theft of one’s very self?
[日本語] 才能ある黒人写真家クリス・ワシントン（ダニエル・カルーヤ）は、白人の恋人ローズ（アリソン・ウィリアムズ）の実家であるニューヨーク州北部の邸宅を訪れることに、強い不安を抱いていました。到着後、脳神経外科医の父ディーン（ブラッドリー・ウィットフォード）と精神科医の母ミッシー（キャサリン・キーナー）は、自らのリベラルな信条を誇示するようにクリスを熱烈に歓迎します。しかし、邸宅で働く黒人使用人たちの、機械的で感情の欠落した振る舞いに、クリスは言いようのない違和感を覚え始めます。親睦会に集まった裕福な白人客たちは、クリスの肉体に対して捕食的なまでの関心と、無自覚な差別（マイクロアグレッション）を浴びせかけます。親友ロッド（リルレル・ハウリー）の必死の警告を、当初は「考えすぎ」だと退けようとしていたクリスでしたが、やがてアーミテージ家が隠し持つ、おぞましく寄生的な真の目的を知ることになります。映画は静かに問いかけます。リベラルな啓蒙の裏に、いかなる捕食的欲望が潜んでいるのか。「ポスト人種社会」という約束は、新たな隷属の形態に過ぎないのか。そして、排除の上に成り立つ社会において、究極の恐怖とは「自己の喪失」そのものではないのか。
Cast & Crew / スタッフ・出演
| Role | English | 日本語 |
|---|---|---|
| Director / 監督 | Jordan Peele | ジョーダン・ピール |
| Screenplay / 脚本 | Jordan Peele | ジョーダン・ピール |
| Producer / プロデューサー | Sean McKittrick, Jason Blum, Edward H. Hamm Jr., Jordan Peele | ショーン・マキットリック、ジェイソン・ブラム、エドワード・H・ハム・Jr.、ジョーダン・ピール |
| Cinematography / 撮影 | Toby Oliver | トビー・オリバー |
| Music / 音楽 | Michael Abels | マイケル・エイブルズ |
| Editing / 編集 | Gregory Plotkin | グレゴリー・プロトキン |
| Distribution / 配給 | Universal Pictures (US) | ユニバーサル・ピクチャーズ（米国） |
| Cast / 出演 | Daniel Kaluuya (Chris Washington) | ダニエル・カルーヤ（クリス・ワシントン） |
| Allison Williams (Rose Armitage) | アリソン・ウィリアムズ（ローズ・アーミテージ） | |
| Bradley Whitford (Dean Armitage) | ブラッドリー・ウィットフォード（ディーン・アーミテージ） | |
| Catherine Keener (Missy Armitage) | キャサリン・キーナー（ミッシー・アーミテージ） | |
| Caleb Landry Jones (Jeremy Armitage) | ケイレブ・ランドリー・ジョーンズ（ジェレミー・アーミテージ） | |
| Marcus Henderson (Walter) | マーカス・ヘンダーソン（ウォルター） | |
| Betty Gabriel (Georgina) | ベティ・ガブリエル（ジョージナ） | |
| Lakeith Stanfield (Andre / Logan) | レイキース・スタンフィールド（アンドレ / ローガン） | |
| LilRel Howery (Rod Williams) | リルレル・ハワリー（ロッド・ウィリアムズ） | |
| Stephen Root (Jim Hudson) | スティーヴン・ルート（ジム・ハドソン） |
Additional Information / 追加情報
Awards / 受賞歴
- 90th Academy Awards (2018) – 4 nominations, 1 win:
- Best Original Screenplay – WON (Jordan Peele)
- Best Picture – nomination
- Best Director – nomination (Jordan Peele)
- Best Actor – nomination (Daniel Kaluuya)
- 75th Golden Globe Awards (2018) – 1 nomination:
- Best Motion Picture – Musical or Comedy – nomination
- 71st BAFTA Awards (2018) – 3 nominations:
- Best Original Screenplay – nomination (Jordan Peele)
- Best Actor in a Leading Role – nomination (Daniel Kaluuya)
- Outstanding British Film – nomination
- 28th Screen Actors Guild Awards (2018) – 1 nomination:
- Outstanding Performance by a Male Actor in a Leading Role – nomination (Daniel Kaluuya)
- 30th Producers Guild of America Awards (2018) – 1 nomination:
- Outstanding Producer of Theatrical Motion Pictures – nomination
- Writers Guild of America (2018) – 1 win:
- Best Original Screenplay – WON (Jordan Peele)
- MTV Movie & TV Awards (2018) – 3 wins:
- Best Movie – WON
- Best Actor in a Movie – WON (Daniel Kaluuya)
- Best Villain – WON (Allison Williams)
Critical Reception / 批評的評価
- Rotten Tomatoes: 98% (Critics), 86% (Audience)
- Metacritic: 85/100 (Universal Acclaim)
- IMDb: 7.7/10
- Eiga.com（映画.com）: 3.9/5
- One of the most discussed and analyzed American films of the 2010s
- Jordan Peele became the first Black screenwriter to win the Academy Award for Best Original Screenplay on a debut feature
- Daniel Kaluuya’s performance universally praised — his ability to convey suppressed terror through stillness and eyes alone called extraordinary
- Betty Gabriel’s performance as Georgina — particularly the “crying while smiling” scene — cited as one of the decade’s most unsettling moments
- LilRel Howery as Rod provided essential comic relief without undermining the film’s horror
- Roger Ebert.com: ★★★★ “A landmark American horror film — and a landmark American film, period”
- The New York Times: “Ferociously smart, genuinely terrifying”
- Variety: “A surgical dissection of white liberal racism”
- The Guardian: ★★★★★ “Peele announces himself as a major filmmaker”
- Widely compared to Rosemary’s Baby, The Stepford Wives, and Guess Who’s Coming to Dinner — all films about the violence concealed beneath social propriety
- Studied extensively in film theory, race studies, and American studies curricula
- Some Black critics noted the film’s specific address to a Black audience — the recognition of every microaggression is immediate and visceral in a way that white audiences may process differently
- The “Sunken Place” entered cultural vocabulary as a metaphor for psychological silencing and complicity
Box Office Performance / 興行成績
- Worldwide Total: $255.5 million
- Domestic (US/Canada): $176.0 million
- International: $79.5 million
- Production Budget: $4.5 million
- Return on Investment: 56.8x (one of the most profitable films in Hollywood history relative to budget)
- Opening Weekend (US):
- Wide release: February 24, 2017
- $33.4 million opening weekend (#1)
- 2,781 theaters
- $12,010 per-theater average (exceptional)
- Performance Analysis:
- Blumhouse Productions low-budget model at its most successful
- Word-of-mouth explosive — immediate cultural conversation
- Social media amplified the film’s themes in real time
- Oscar nominations (Best Picture, Best Director, Best Actor, Best Screenplay) sustained run
- Peele’s Oscar win (first solo Black winner for Original Screenplay) created historic moment
- Domestic Performance:
- $33.4M opening (extraordinary for a $4.5M horror film)
- Exceptional holds — audiences returned, brought others
- Oscar season kept it in theaters through March 2018
- Final domestic: $176M (one of the highest-grossing original horror films ever)
- International Performance:
- Stronger in UK, Australia, France than typical genre films
- Themes resonated globally — racial dynamics differ but the film’s grammar translated
- $79.5M international on a film about American racial specificity: significant
- Return on Investment:
- $4.5M budget → $255.5M worldwide
- ROI of ~56x rivals Paranormal Activity (740x) and Blair Witch Project (400x) among the most profitable films ever made
- Validated Blumhouse’s model: low budget + sharp concept + cultural urgency = phenomenon
- Awards Season Impact:
- Oscar nominations kept cultural conversation alive through February 2018
- Peele’s win: historic — changed conversations about who gets to make prestige cinema
- Best Picture nomination for a horror film: rare, meaningful
- Comparison:
- Hereditary (2018): $44M worldwide — similar critical acclaim, lower commercial reach
- Us (2019, Peele’s follow-up): $255M worldwide — matched Get Out almost exactly
- Get Out established Peele as a franchise unto himself
Related Review / 関連レビュー
🔗 English Review
・[International Day for the Elimination of Racial Discrimination] The Horror of Being Seen—Liberal Racism and the Violence of Desire in Get Out
🔗 日本語レビュー
・【人種差別撤廃国際デー】見られることの恐怖——『ゲット・アウト』におけるリベラルな人種差別と欲望の暴力
