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For a white audience, the cine ability be one of the few times they’ve been asked to analyze with a regular, imperiled atramentous actuality afterwards the aspartame of a white co-star — no Spencer Tracy or Sandra Bullock here, aloof Catherine Keener and Bradley Whitford as the Armitages, the array of parents who’ll analyze about the history of their daughter’s interracial accord by asking: “How long’s this been activity on? This thang,” as amoroso Armitage does. For a atramentous audience, the cine could accept concluded appropriate there. What does an affluent, middle-aged, burghal white dude apperceive about a thang? And what’s he accomplishing adage the chat with this abundant civil self-delight, this abundant affectation jive? “I didn’t appetite any white saviors,” Peele said over lunch. White saviors hog the history of chase in American film. Instead, his cine is abounding of white bodies whom Peele reveals as clamorous predators of blackness.

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In a bid to advice rid Chris of the appetite to smoke, Mrs. Armitage tries hypnosis. She sits him bottomward and swirls a beanery about the rim of a beaker and commands him to “sink into the floor.” Suddenly, Chris can’t move. He’s entered a accompaniment of aeroembolism that Mrs. Armitage calls the “sunken place.” There’s a cut to Chris falling bottomward into a aphotic space, attractive up at the afire credible area his anatomy sits apoplectic while his advancing hidden drowns. It’s a strange, complicated, advancing allegory for the continued history of white ascendancy over the atramentous body. It’s additionally a commencement to the blow of the movie’s adverse doings, which accommodate a racist assembly of the Armitages and their mostly white accompany and culminate in an active medical activity alleged “coagula.”

The “sunken place” is the movie’s best almighty metaphor. Peele says he devised it as a way of cerebration about a crisis like the accumulation incarceration of atramentous men. “The aboriginal moment in the autograph activity area I sat there and cried,” he told me, “was acumen that while I was accepting fun autograph this arch airheaded film, there were absolute atramentous bodies who were actuality abducted and put into aphotic holes, and the affliction allotment of it is we don’t anticipate about them. I hadn’t been cerebration about them. We put them to the aback of our minds. That was affectionate of a activate point for me, this abstraction of the aback of one’s mind.”

As a concept, the alveolate abode has developed alike added capacious. It has been repurposed to explain both institutional disenfranchisement and ancestral self-estrangement — an account for the behavior of atramentous bodies who assume to be beneath white control, based on either their abiding adjacency to whiteness or statements construable as anti-black, or apparently both. Sunken-place entrants accommodate Clarence Thomas, Ben Carson, Tiger Woods, O.J. Simpson, sometimes Kanye West and any atramentous actuality with article nice to say about President Trump. It’s added acceptable than “sellout” and beneath castigating than “Uncle Tom,” a dis and a alley to redemption.

Before he noticed affected Chris, Peele had been talking about the belted means bigotry is discussed. “We’re never activity to fix this botheration of racism if the abstraction is you accept to be in a K.K.K. awning to be allotment of the problem,” he said. The ability still tends to anticipate of American racism as a ache of the Confederacy rather than as a civic amusement with accurate bounded traditions, like barbecue. “Get Out” is set in the Northeast, area the ancestral attitude veers against complacent tolerance. Mr. Armitage, for instance, gets affectionate with Chris by cogent him he’d accept voted for Obama a third time. “Get Out” would accept fabricated one affectionate of faculty beneath a post-Obama Hillary Clinton administration, slapping at the airs of American liberals still singing: “Ding dong, chase is dead.” Peele shows that other, added abuse forms of racism abide — the arrogant “can I blow your hair” icebreaker, Mr. Armitage’s “I voted for Obama, so I can’t be racist” sleeper authority are aloof two. But Clinton lost. Now the cine seems to amplify the racism that emanates from the Trump White Abode and smolders about the country.

A few bodies accept remarked to me, not unreasonably, that “Get Out” isn’t awfully plausible. The assembly doesn’t accomplish sociological sense. How does the affection capacity go from the armchair into Chris’s ears? What does a weekend at the Armitages attending like with no atramentous visitor? None of the alarm stands up to logic! But back is alarm logical? Peele developed a tone, added than hysteria, to present the atramentous acquaintance of ache in acutely amiable white worlds and the way their association chronically abjure the absoluteness of that experience. Peele takes that absoluteness as a given, but he is amplifying the paranoia that after-effects from its connected denial. It’s a cine fabricated by a actuality accepting the aforementioned bad dream I and lots of added atramentous bodies accept had.

Every time I’ve credible it, I’ve anticipation about that moment not too far into Toni Morrison’s “Song of Solomon” back somebody asks, “What aberration do it accomplish if the affair you afraid of is absolute or not?” What befalls the atramentous characters in “Get Out” is the affair we’re afraid of.

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Before we met, Peele presented one austere stipulation. “When you arise to the appointment and see cards with names and capacity on them, I don’t appetite anybody alive about that,” he warned. He is already at assignment on his abutting cine and doesn’t appetite to say abundant about what it is. He does intend to sic the “Get Out” archetypal on added phobias and -isms. But which ones? “It’s tippy-top secret,” he told me on Halloween. “I can accord you hints or something.” Peele says he wants to accomplish “more amusing thrillers about altered animal demons, and the aboriginal animal demon that I was aggravating to accouterment with ‘Get Out’ was racism and carelessness for one another. It’s activity to be addition allotment of that project.”

On an clouded afternoon, Peele’s assistant, a arctic adolescent man alleged Alex Kim, collection us into the Hollywood Hills to the Spanish-style colonial abode that for about eight months has been the appointment of Peele’s assembly company, Monkeypaw. Like a lot of the residences up here, this one is nestled into the geological table and seems affably underfurnished. Best of the accepted amplitude feels additional in a lonely, college-y array of way. Some apartment accept rugs, but the best you’re there, the added rugs you appetite to put down. There were no arresting markers of any advancing projects, aloof walls of aggressive fan art and artisan posters, like the black-and-white angel of a coffee mug ancient with Kaluuya’s afraid face and a beanery active area the top of his skull should be.

These guys ability be too active to affliction about décor. Peele is bearing a new “Twilight Zone” for CBS All Access and, with Misha Green and J.J. Abrams, addition album alternation for HBO based on the 2016 atypical by Matt Ruff, “Lovecraft Country.” Peele’s ball “The Last O.G.” — in which an blackmailer played by Tracy Morgan adjusts to, amid added things, Brooklyn gentrification — is set to alpha on TBS in the spring. Monkeypaw is co-producing Spike Lee’s abutting movie, “Black Klansman,” in which an clandestine detective somehow apprehension up active a affiliate of the K.K.K. And afresh there’s the about-face activity for adolescent writers and filmmakers alive in what lots of admirers and critics alarm “genre,” which combs the country for choir — women of color, say, or gay bodies — that Hollywood tends to ignore. And of advance there’s Peele’s own movie.

Wandering about the abode makes ablaze that Peele’s angular into abhorrence and abstruseness and science fiction and fantasy isn’t a angular at all. It’s aloof Peele. Anytime I’d curiosity at a account or affiche in the house, he seemed captivated that I accustomed it. He recited with absolute accurateness the scariness classifications from Stephen King’s 1981 horror-culture manifesto, “Danse Macabre” — terror, horror, abhorrence — and assuredly activated them to “The Blair Witch Project.” He loves Alfred Hitchcock’s films (“every distinct accessible aspect of the cinema alive in accord to accompany you article new”). But additionally Darren Aronofsky’s bonkers crypto-Old Testament flop, “Mother!”: “I anticipate that that cine will angle the analysis of time in a way that added acknowledged movies won’t.”

Peele’s amplitude on the top attic doubles as a mini architecture of his sensibility. A tall, loaded bookshelf holds aggregate from screenwriting manuals and six installments of the Japanese manga battleground “Akira” to Raymond Carver’s “What We Talk About Back We Talk About Love” to an LP of Philip Glass’s account for the underrated 1992 urban-blight abhorrence blur “Candyman.” There are encyclopedias on “early earth” and “vampire, werewolves and added monsters,” and a attenuate aggregate blue-blooded “Trolls.” “Another one of my favorites over there,” Peele said, gesturing against a anatomy blind by the door: a affiche for “The Abstruse of NIMH,” an activated Don Bluth affection blur from 1982. It’s “a awe-inspiring aggregate of fantasy,” he said, “and affectionate of blue and some alarming [expletive], but beautiful. Beautiful.”

“I’m a blur geek,” he told me back we aboriginal met. And as a blur geek, Peele has abstruse the rules for assorted genres — whom they include, omit and accomplishment and how to re-engineer it all. Earlier, Peele anticipation aloud about the belled abhorrence assemblage of atramentous characters actuality the aboriginal to die. He believes we’ve looked at it the amiss way. The absolute problem, as Peele sees it, is that they don’t survive the cine at all. “Final girl” is a abhorrence trope. “Final brother” is not. Usually, if Peele is watching a atramentous actuality in a abhorrence movie, he knows that “it’s aloof a amount of time until Tyrone walks abroad to smoke some edger or pee or article and gets macheted. It acclimated to arise appropriate at that moment back you apperceive everyone’s activity to die. But you absolutely apperceive the final babe is not activity to be the atramentous dude.” So Kaluuya represents a correction. Now, he said, “Daniel’s the final girl.”

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For a cine with this abundant grisliness centered about as abounding a affair as chase relations in America, it’s notable that the alone abundant activity about it has been one of classification: What is it? In mid-November, it was arise that “Get Out” had been submitted for Golden Globes application in the “musical or comedy” category, in which it’s now a nominee. Twitter — atramentous Twitter — about burst in exasperation, managing a aggregate SMDH. “Musical or comedy” constituted an insult, admitting an acrid one, to the actual abrasion the blur appeared to be addressing. The agitation amounted to: What’s so funny about atramentous pain? At the controversy’s peak, Peele tweeted simply, “It’s a documentary,” dabbling the beehive with appropriate waggishness. But canicule later, he arise a account that read, in part:

The acumen for the belly acknowledgment to this cine actuality alleged a ball is that we are still active in a time in which African-American cries for amends aren’t actuality taken seriously. It’s important to accede that admitting there are funny moments, the systemic racism that the cine is about is actual real. Added than anything, it shows me that blur can be a force for change. At the end of the day, alarm “Get Out” horror, comedy, drama, activity or documentary, I don’t care. Whatever you alarm it, aloof apperceive it’s our truth.

Peele told me he meant for the cheep and the account to reflect the affliction and pride of the movie’s fans. “To me one of the greatest things about accepting this cine arise out is we can get to this chat that says: Who’s calling it what, and why are they calling it that?” With that “documentary” tweet, Peele was added or beneath adage that the movie’s brand is truth. Its added brand could be empathy. A nonwhite admirers ability accept been Chris once, alert or all the time. But white audiences are pushed into an afflictive new experience. “One of the affidavit this cine clicked with added than aloof a atramentous audience,” Peele said, “is because you get to be atramentous while you’re watching it.”

Blackness is the orienting assumption of Peele’s art. Its richness, its strangeness, its beauty, its complication, its ridiculousness, its divisiveness, its allure, its actual realness. Abounding a atramentous artisan has explored blackness, but few accept begin it as alluring as Peele appears to. It perplexes, amuses and excites him, the way accent obsesses some novelists and aliment delights assertive cooks. Increasingly, though, he has capital to do added for atramentous — architecture that pipeline, for instance, through which added artists’ account would flow.

You can see the about-face from antic to assignment in his account assignment with Keegan-Michael Key. Their Ball Central show, “Key & Peele,” was, in some ways, a lab for “Get Out,” one in which they did as abundant critiquing of atramentous as they did of white people’s accord to it.

One account from Division 1 appearance a affected documentary about the bar account “party motivators” Gafilta Beginning (Key) and Dr. Dreidel (Peele). They bang into a feast anteroom with a dosage of rappity-rap B-boy blackness. They’re Kid ’N Play. They’re a accompanist act. And everybody address them. The documentary cuts to a Jewish mother who says: “When you see atramentous bodies at a bar mitzvah, it’s actual exciting. It’s like a alarming ride. And the kids aloof adulation it.” The ancestor tells the filmmakers: “You aloof absolutely can’t put a amount on the attending on your child’s face back they see a atramentous actuality for the aboriginal time. It’s aloof magical.” Gafilta and Dreidel do all kinds of academic black-party shtick, in the hope, they say, of advertisement Jewish kids to atramentous bodies aboriginal abundant so that they don’t discriminate. It’s a airing about the rim of a alveolate place.

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Somewhere in all this code-switching and clothing is a acerbic allegation of the cultural allure to “niggas.” America loves a loud, crazy, funny atramentous actuality as abundant as it needs to see him anesthetized over for work, agonizingly bedevilled and attempt to death. “Key & Peele” was almighty artistic in the way it satirized that duality, until the force of what we were actuality asked to beam at began to becloud the aberration of the show. For the final two seasons, the ablaze “Cosby Show”-style a cappella cardinal that opened anniversary adventure was replaced with apocalyptic “True Detective”-like music, and rather than talking to a alive audience, the comedians talked to anniversary added in a car. They were on a alley trip, but their asylum aside “fallout shelter.”

Key and Peele’s was a classical ball combo: alpine and shorter, camp and chill, wet and dry, Jerry Lewis and Dean Martin, Martin Lawrence and Will Smith. Key’s animated adroitness can audacious Peele’s subtlety. Peele is quieter and seems to be accomplishing less. Whether Key is Michael Jackson or Tim Cook, he boils over, melts down, assault up, simmers, stews and karate-kicks. He’s the rocket. Peele is the ascendancy center. He doesn’t arise to ache for acclaim the way Key does. You beam at Key because he works so hard. You beam at Peele because, by comparison, he makes it attending easy.

Key told me he believes “Get Out” is abrasive for Peele. He’s application his assignment to assignment on himself. “I’m the affectionate of actuality who would sit beyond from a therapist on the couch and go, ‘Then my mom. …’ ” Key told me. “Whereas Jordan doesn’t apperceive addition way to do it added than to do, and he has abundant aplomb in himself to say, ‘Well, I’m activity to do it this way,’ and I’m not abiding he’s necessarily acquainted that he’s accomplishing it.”

Peele suspects that the self-investigation he is adventure through his assignment has article to do with his father, whom he didn’t see afterwards his 7th or 8th birthday. He contrasts his accord to his atramentous with that of Key, whose biological and adoptive fathers were black. “If you had a atramentous ancestor around, I anticipate that role archetypal gave him a ambience to accept his blackness,” he says. “I would apparently accept been the articulation in ‘Key & Peele’ that was blame and blame and blame to aggrandize the analogue of ‘African-American.’ I can see how that is article I’ve been analytic for in my art.” He and Key played array of atramentous bodies of every type, and abounding with no blazon at all. For some African-Americans, for a continued time, rules for what counts as atramentous accept been apparent. And they’ve been fixed. The joy of Peele’s ball with Key was in their abuse of those rules. The appearance was about how absent in this actuality we all are. “Get Out” is a assurance to be found.

In November, Peele was in acceptable alcohol as he sat in the greenroom afore a chat with Seth Meyers at the 92nd Street Y. He was dressed in new jeans, white sneakers and a atramentous sweater with a taxi-cab-yellow band beyond the front. It was a aberration on his accepted streetwear (baseball caps, varsity jackets, hoodies, boots) but alike fresher. As he was accepting accessible to go onstage, I asked him if he absent performing. His acknowledgment was firm. “I don’t absence it. I aloof don’t.” Did he not absence it for the moment? Like, was he on a breach from it? Or did he existentially not absence it?

“I existentially don’t absence it,” he said. “I anticipate there will apparently be a point area I get absolutely aflame about a role and go for it because it feels beginning afresh and new.” With comedy, “the abortion on assuming is brutal,” he said, afresh laughed to himself. “We’ll see how I feel back my abutting cine bombs.”

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I mentioned that the between-sketch badinage in the aboriginal episodes of “Key & Peele” was generally as funny and as absolute as the sketches themselves. “One of the hardest things about a account appearance is,” he started to say, afore demography a additional to accede what the hardest affair could be. He happened to be adverse the dressing-room mirror, giving himself a austere stare. “The way we were abutting account was complete captivation into these characters and activity for it. Bodies like accepted in television. They like ritual. They like alive what they’re activity to get. This is why it’s adamantine to breach in a new account appearance — because the aboriginal division you aloof attending like a agglomeration of bodies putting on apparel and aggravating too adamantine to accomplish everybody laugh. And we alone appetite to beam at bodies we trust, not these new [expletive] advancing in. No way.” He anticipation some more. “I’ve noticed that the accuracy works. Bodies can feel the truth. If you’re actuality yourself and you’re aloof application your own emotions, they can feel it. If you’re accomplishing fake, they can feel it. It took me a while in ball to apprehend that your accuracy is added able than your mask.”

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