In this shot, Peele excellently combines cinematography and mise-en-scene in this shot, which reveals to the audience what the movie has been building to this whole time. The minimal props in this scene all add to the tone of this scene, especially the single target above Chris' head is an obvious metaphor for the situation he is in, being the "target" of the movie the entire time. The camera movement in this shot is incredibly important as well, as the slow track-up sets much of the mood of the scene instantaneously, with the camera slowly revealing Chris, tied to his chair, with his plan from the shots before going into action. All of these work together to progress the actions from the rest of the film, as Chris looks back in the shot before to realize how everything he witnessed up until then was leading to this. Everything culminates to Chris in this situation, however, he is one step ahead. Much of this also relates to our understanding of black horror films, as Tananarive Due said, "Black history is Black horror" and this shot, in particular, connects greatly to black history, as Chris is being forced to give away his freedom, and even deeper, his freedom of self. He is losing himself to the hands of white enemies, looking out for themselves rather than the good.

This shot is one of the most visually diverse shots in the entire film, providing an almost direct backlit shot while being completely underneath a character's head. It is a shot that is never seen in film, which makes this shot stand out even more when contrasted to the last shot with Chris (supposedly) passing out, and cutting straight to the man who is going to take over his life. It is crazy to think of the amount of control and power the Armitages have having both a famous photographer and Chris sedated within their home. The composition of this shot is incredible, as the diffused light really contrasts against Jim Hudson's face. This scene really accentuates what Hudson said only a few minutes ago, saying how he wants Chris' eyes, which relates to the quote by Richard Dyer, saying how the "Idea that black people have in some sense more ‘life' than whites" continuing by saying "white people’s over-investment in the cerebral is cutting them off from life and leading them to crush the life out of others and out of nature itself". This all connects back to Hudson's speech about Chris, wanting his features, his greater sense of life, and the eyes he has, willing to take it and crush Chris' life in the progress.

This is one of my favorite shots in the film, as it shows how intricate and deep this rabbit hole goes, and takes it a step farther than I would have ever thought this film would go. The extra sterile setting with the bright surgical lamps bright this shot together, all contributing to the extremely balanced nature of this shot. The stillness of every single object within the frame, even Dean, makes this absolutely horrific. The low-key and dark background of this shot also makes us wary of the unknown and contrasts heavily to a normal, bright doctor's office many are accustomed to. All of this works towards creating a feeling of unweary, nervousness for Chris and what he is being brought into, only compounded as Dean starts his operation in the next few shots, only to have blood start splashing up. This scene feels to me like the embodiment of the quote from Paula Jai Parker after watching this movie, ”It’s like [Jordan Peele] told our secret…these people are trying to steal our souls”. This feels like one of the most important quotes as, throughout black history, white people have been able to control black people for their bodies, and now, Peele shows the audience what white people taking over the mind by force really looks like.

In this shot, I find this to be a turning point in the conclusion of this film, where ignorance and ingenuity meet a crossroad and the audience finds Jeremy untying Chris. This shot is a moment of hope for Chris, and for the audience, as up until this point, we are unsure how Chris could possibly get out of this situation. The cinematography compliments this sentiment, giving these close-ups on Jermey undoing the straps, the camera tracking up, following his actions as the audience realizes the opportunity presented, only for the next shot to completely deliver. This shot is a turning point and gives the viewer hope that Chris can make this out alive. It puts this very important plot point front and center so that it is impossible to miss and show how it was the Armitages that caused their downfall through and through. This shot also is heavily influenced by black history, with Chris up until this point being held down and restricted, his life in the hands of others. However, in this shot, the tables are turned, he is finally free and is ready to take his life back, and take out anyone in his way, much like history has already told in the past. He doesn't need a white savior like in many other films, or even assistance from his friends. He embodies a black hero and is willing to risk it all to get out.

This is one of the most powerful shots in the whole film, not only for its meaning for Chris, but also its connection to history and how this single image says more than many other film's entire stories. In this shot, Chris has regained his freedom, and has finally fought back against the family that has manipulated him since the moment he met Rose. The composition for this shot is excellent, as it doesn't worry about any extraneous props or items, it solely focuses on Jeremy, lying motionless on the ground, cotton from Chris on top of him, as a pool of blood comes from his head. There is no need for camera movement, just this medium-close up shot showing the change in Chris' ideology and mentality. He is now determined to get out, by any means necessary. Not only does this show a change in Chris, but also shows a shift in power, as the Armitages had everything under control up to this point, but now, Chris has a step up, and the power and will to escape by any means necessary. This is a great payoff for something that Peele teases almost 3 minutes beforehand, making audiences guess how Chris could make a way out of here. This shot also has connections to history, with the most blatant being the cotton Chris used to block his ears and then toss down on the ground. In many ways, this shot shows represents freedom for black people, no longer being a restricted and held down, but in power and standing above those who had previously repressed them.