She was smiling because she saw the police car and assumed Chris would get in trouble. I'm starting to think that she was using one of her mother's hypnosis tricks. That is, she'd "trained" Chris to love her when she smiled at him.
Rose initially panics, but starts smiling evilly, presumably because that her racist beliefs about black people would be right, as Chris would end up acting like a beast. Chris, either now unwilling or too exhausted to kill his former girlfriend, stops strangling her.
Fully possessed by the demon, Rose douses herself in gasoline and sets herself on fire — just as the real Joel bursts inside her home and witnesses her death, becoming the next victim. Pretty dark stuff!
Get Out's ending underscores the importance of reclaiming agency, challenging oppressive systems, and resisting the erasure of individual identity. It remains a powerful testament to the enduring relevance of social issues and a wake-up call for audiences to confront the underlying biases that persist in society.
In an interview with Seth Meyers (and previously in a podcast interview more or less, and Peele has discussed more of the same in talking about the character's development) spoiling the “twist” to her character, Allison Williams debunked this completely and said Rose was not and was never hypnotized and is just a full ...
Rose is constantly insinuating that she represents the epitome of a not-racist woman. She believes that she always has the better understanding of interracial relationships than Chris does and that she is able to make the better choices for him because she lives in what she believes to be a post-racial society.
By the end of the movie, Peele makes it clear through his symbolism that deer and Kaluuya's character Chris are intended to be mirror images of one another, drawing a parallel between black men being prized as trophies just like the taxidermy deer hanging on the wall in the room where Chris was held captive.
The closest Peele has gotten to explaining the meaning of the rabbits is to point out how they fit with the film's greater theme. “They're an animal of duality. They're adorable but they terrify me at the same time," he told The Guardian. "And they got those scissor-like ears that creep me out.”
Obviously, the alternate ending is a drastic departure from the one that made the theatrical release. There's another alternate ending (although it is unknown if this one actually got filmed or not) that is arguably just as depressing, which finds Rod breaking into the Armitage household to save Chris.
Because Froot Loops are colorful and milk is white, the separation of the two seemingly symbolizes the American Segregation era when people of color were forced to use different public amenities than white people.
So once the psychiatrist started to suffer from similar hallucinations, Rose decided to investigate what was really going on. As it turns own, Rose is cursed by trauma, which in Smile is represented by a shapeshifting apparition that scares its victim until their mind is shattered.
Smile clearly wants the audience to see the connection between Rose's curse and mental illness. Throughout the movie, characters use therapy buzzwords and often suggest that Rose's mental state is a result of her genetics and past trauma.
It is a demonic entity responsible for an ongoing series of gruesome murders, which it facilitates through a “curse” which passes from victim to victim in a “chain” stretching back to an unknown beginning.
Prior to this one, the other alternative ending Peele revealed was Chris getting apprehended by police and sent to jail for the rest of his life for murdering the Armitage family.
As the film deals with racism, Peele has stated that the story is "very personal", although he noted that "it quickly veers off from anything autobiographical." Peele was introduced to producer Sean McKittrick by comedy partner Keegan-Michael Key in 2013. "I was shooting a movie with Keegan-Michael Key.
But Get Out isn't about the blatantly, obviously scary kind of racism — burning crosses and lynchings and snarling hate. Instead, it's interested in showing how racist behavior that tries to be aggressively unscary is just as horrifying, and in making us feel that horror, in a visceral, bodily way.
However, Chris remembers that the flash of his camera triggered Andre to escape the “Sunken Place;” he once again uses his camera to free Walter's mind. Walter shoots both Rose and himself, but Chris can't bring himself to kill Rose. He decides to leave her bleeding on the sidewalk as he attempts to find a way home.
At this point, Chris has killed the rest of the clan and is about to strangle Rose - only for police lights to flash on him. Rather than cops pointing guns at Chris, however, it's revealed to be his friend Rod, and they drive off together, leaving Rose to die alone.
Logan is one of the few characters in the film to have escaped with his actions as he still remains in control of Andre's body while the others (such as Roman and Marianne) end up being killed. It is unknown of Logan's true appearance as he was only seen in Andre's body the entire time.
Another, clearer explanation is that Jason knows about Adelaide's true nature, as he heard the final fight between her and Red. He knows that she's still his mom, but also knows that she may have done something terrible in her past.
When the flash goes off in Logan's face his demeanor changes. Physical symptoms manifest which include a nose bleed, fear in his eyes and lunging at Chris saying "Get out". Initially, this perception of this is interpreted as aggression, but later he learns that Logan was actually warning him.
Another thing no one saw, but he was also wearing loafers, which we painted with little red pennies. Red was a very important color in the film because it is symbolic of secret societies.
In Get Out, the coagula procedure renders the African American victim powerless. They are forced into a metaphorical version of slavery where white people steal their bodies and use them for their own purposes.
The camera phone has been used to bring anti-black police violence into the center of collective, national attention. In Get Out, the flash of a camera phone is a flash back into the actuary fear and terror of living under white supremacy as a black body.
