The film will mark Peele's third collaboration with Universal. The studio backed his directorial debut, "Get Out," which became a commercial smash and landed four Oscar nominations (including one win, for original screenplay). The project falls under the company's five-year output deal with Universal. Collectively, his films have generated more than $500 million at the global box office. Peele followed that up with "Us," a terrifying thriller starring Lupita Nyong'o and Winston Duke. Peele is also producing the film alongside Ian Cooper of Monkeypaw Productions.
Peele is writing and directing the movie, which is expected to debut on July 22, 2022. Though the premise — even the genre — is being kept under wraps, the cast is also set to include Keke Palmer and Daniel Kaluuya.
Fresh off an Oscar nomination for his critically acclaimed role in A24's family drama "Minari," Steven Yeun is being eyed to star in Jordan Peele's next film.
Senior VP of Production Sara Scott and Creative Executive Tony Ducret will oversee the project on behalf of Universal.
Peele's Monkeypaw Productions recently backed the HBO series "Lovecraft Country" and Amazon's "Hunters" with Al Pacino. Up next, the company is releasing a "Candyman" remake starring Yahya Abdul-Mateen II. Nia DaCosta is directing that film from a script she co-wrote with Peele.
Yeun is represented by CAA, Principal Entertainment LA, The Gotham Group and Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush, Kaller & Gellman.
Deadline Hollywood first reported the news of Yeun's casting.” />
Yeun, whose credits include "The Walking Dead," "Burning" and "Okja," will next be seen in the Netflix comedy "Beef." He will star in the TV show alongside Ali Wong.

With just two movies, the 31-year-old writer-director Ari Aster has carved out a special place for himself. He’s making luxuriously dread-infused art horror films for the megaplex. Yet Aster, in last year’s domestic ghost-story shocker "Hereditary," and in his new movie, the epic pastoral Swedish commune creep-out "Midsommar," has created a niche that’s destined to be controversial, because he’s throwing mainstream audiences curveballs right and left. It’s not necessarily a unique place: Jordan Peele got there first — and it’s telling that in the work of both filmmakers, you can feel the thread of '60s and '70s horror ("Rosemary's Baby," "The Stepford Wives," "The Wicker Man") running through a gripping new consciousness.
"Hereditary" was the rare horror film that had an ambition as deep, wide, and complexly disturbing as that of any independent feature. In "Midsommar," Aster’s reach is even bolder — he has made a sun-dappled socio-pagan cult nightmare that connects to our time in ways that explode in your head long after the movie is over. Yet in both films, especially the new one, there are elements of indulgence to his method.
Last year, I saw "Hereditary" with a mainstream audience on opening weekend, and by the end there was visible head-scratching hostility. The film was a success (it grossed $44 million, making it the most widely seen film ever distributed by A24), but as I wrote at the time, it tapped into the cinematic equivalent of a blue state/red state divide: audiences open to its mysteries, as well as those angered by its refusal to play by the cut-and-dried rules of consumer horror.
What is powerful about "Midsommar" is its vision of a cult of holistic extremists that connects, in unusual and resonant ways, with the emerging spirit of today. I have no idea if the Swedish commune of the Hårga has any basis in reality; it seems more like a fusion of movie tropes, from "The Wicker Man" to the maids in floral headdresses to the glowering tribal leaders to the way that key characters are named Pelle and Ingmar.
If you’ve seen "The Wicker Man," and even if you haven’t, you sort of know what’s coming in "Midsommar" even when you don’t know. When it arrives, it’s not nearly as startling as it could be. "I’m sure they find that really disturbing too"), we’re primed for violence. And once we’ve seen the commune kill off two of its tribal elders in a pitiless rite of euthanasia ("We stick our elders in nursing homes," says Christian, trying to explain it. There are a lot of surprises, and I was never bored, but in a movie that starts with an hour-and-and-a half of slow-burn fuse, we ultimately want more than surprise — we want revelation.
She fixes her broken relationship with her lover by reducing him to a piece of timber. She heals her trauma by giving her benediction to flowers of evil. The horror of "Midsommar" is that innocent people die, in gruesome ways. She loses herself, only to find her new self. She sheds her skepticism and joins the group. Dani, in this movie, is really all of us. And she does it, in the end, with a smile.” /> But the real horror of "Midsommar" is that Florence Pugh’s Dani, drawn to the center of her own shattered identity, replaces it by becoming the self-actualized queen of her surroundings.
But the key element of real-world grounding is that, though the Hårga are presented as a primeval fertility cult, they’re really a counterculture commune out of the late '60s and early '70s — a vision of contemporary people embracing a trippy, sexed-out, timeless image of going back to nature. That, ironically, is the true nightmare of "Midsommar." And though the communes of that era mostly fell apart, what didn’t go away was the counterculture vision of shared, and merged, identity.
He crafted a head-trip nightmare that was also a tightly wound drama of retaliation and escape. Jordan Peele didn’t shun that stuff in "Get Out" — a movie, in structure and spirit, that's a kind of cousin to this one. "Midsommar," by contrast, unfolds like a languid dream of blood and fear in the sun, but I actually wish that the film had been more shockingly violent — that the horrors visited upon the main characters had more of a scary-existential this is really happening vibe. The most radical thing that Ari Aster does in "Midsommar" is to cut out any whisper of conventional genre mechanics.
Yet I‘d still characterize it as a must-see. As Andrew Barker pointed out in his Variety review, there are ways that "Midsommar" doesn’t quite work. To watch (or, at least, enjoy) this movie, you’ve got to sign on for its vision and look past its flaws — the 2-hour-and-27-minute running time, and (more notably) the genre nuts and bolts that the movie sometimes fudges. Aster is out to unsettle us in primal ways, and he does — with "Midsommar," he has made a movie that leaps ahead of the curve in addressing the real-world horror that America, and maybe the world, now faces. With "Midsommar," the divide is likely to get even more profound.
It’s about a small, close-knit group of American grad students who follow their friend and colleague, the smooth-talking Euro hipster Pelle (Vilhelm Blomgren), on a trek to the Swedish countryside to visit the Hårga commune he grew up on. That’s why it’s such an inconvenience when Christian, played by Jack Reynor (who’s like Chris Pratt’s brainy brother), feels that he’s got to take along his girlfriend, Dani (Florence Pugh), who is still recovering from a hideous family trauma. The commune’s members are about to launch a once-every-90-years version of their summer solstice festival, though the real reason that Pelle’s friends are tagging along is that they’ve got visions of Swedish erotic bliss dancing in their heads. They may be intellectual academics (one, played by William Jackson Harper, is doing his anthropology thesis on European cult rituals), but they’re also bros out for adventure. "The Wicker Man" was one of a handful of films that "Hereditary" drew upon, but "Midsommar" is a veritable remake of it.
But in "Hereditary," it turned out that the hero wasn’t being attacked — he was being wooed, prepared for his new role. The film’s finale was a freak-out that submerged the audience in the Other Side more indelibly than "Poltergeist" and a hundred other "Hello, we’re the paranormal!" thrillers. I’m one of those viewers who was blown away by the ending of "Hereditary," in which we finally got to see why the film’s central figure, a bewildered high-school stoner (Alex Wolff), was being plagued by catastrophes, dream signs, lurid premonitions. Usually in a movie, when the ghosts are haunting you, there’s a war between good (you) and evil (them). As I said at the time, what I glimpsed in that surreal step through the looking glass was the ghost of "The Wicker Man," the 1973 British mystery-thriller that’s one of the singular horror movies of its era.
The characters are heading for the land of the midnight sun, and as soon as they arrive in the idyllic Swedish countryside, where they take magic mushrooms and fuse with their surroundings (Dani looks down at the grass and sees blades of it sprouting up through her feet), they’ve entered a psychedelic wildflower Eden of dread, a place overrun by shiny happy people holding hands in white-cotton Amish-hippie folkdräkt. Has there ever been a movie that turned evil into a bright sunshiny day the way "Midsommar" does? The happier the place seems, of course, the more sinister it is.
Debate, more and more, seems over. It has been replaced by the fundamentalism of belief. It gave us what was once referred to as the human potential movement, which started with things like est and the Naropa Institute, which were about people devising new ways to set aside their egos and "connect." And that impulse hasn’t gone away. There’s a case to be made that we’re now evolving, in our thinking, into a nation of cults, which is why, when it comes to politics, rationality seems, more and more, to have vacated the building — not only on the right (though primarily there), but on the left as well. The '60s didn’t just give us a number of progressive causes, along with quaintly dated hippie sentimentality. If you’ve ever spent a weekend at a New Age retreat (or maybe a corporate seminar), you know that impulse is planted, more and more, at the center of the culture, where it’s now hooked up to the mystique of digital "connection." What we mean when we say "the '60s" may be ancient history, but the hidden legacy of the '60s is that we’re increasingly a nation of sects, tribes, people obsessively seeking out those of like-minded desire.
Yet "The Wicker Man" lands, if anything, in an even more unruly place. In spirit, the film takes off from the last scene of "Rosemary’s Baby," with all those devil worshippers gathered for a party in the Castavets’ apartment — a terrifying vision of middle-class evil. Watching it, you can’t see the devil, but you can see the scary power of mass belief. There are dances around the maypole and nymphs leaping through fire, and there is Christopher Lee, sinister in a benevolent sherry-club way, as if he were presiding over a kinky episode of "Fantasy Island," as the commune’s lord and master. There’s period kitsch in "The Wicker Man," yet the movie taps into something memorable: a death cult that wears a gleaming smile, as if it were the missing link between Charles Manson’s followers and the Jonestown horde. It’s a film set on an island in the Scottish Hebrides, full of gnarly blokes in pubs, that turns out to be a secret sect of Celtic pagan worship.

The studio spent $98 million to produce the film, making in one of the more cost-effective superhero movies. In North America, the comic-book adventure about a young boy who transforms into a grown superhero when someone says the magic word debuted with $53 million for a global start of $158.6 million.
"Shazam!" had the strongest launch in China, earning $30.9 million from 15,700 screens. It debuts in its final market, Japan, on April 19. Other top territories include Mexico ($6.2 million), the United Kingdom ($5.3 million), and Russia ($5.2 million).
Meanwhile, Disney's "Captain Marvel" is still turbocharging the box office. Overseas, "Captain Marvel" has pocketed a massive $663.5 million, making it the seventh-best comic-book installment internationally. Marvel's latest superhero adventure, which recently surpassed $1 billion in ticket sales globally, brought in $14.1 million from 55 international markets. It's now the ninth-biggest superhero movie of all time with $1.03 billion worldwide.
and Mexico with $2 million each. The movie — about a family whose new home sits on a burial ground that unleashes a chain of horrific events — also launched in the U.K. In Russia, "Pet Sematary" bowed with $3.1 million, marking the biggest opening weekend for a Paramount horror film in that territory.
Combined with its $25 million debut at the domestic box office, the thriller has brought in $42 million worldwide. Newcomer "Pet Sematary," Paramount's remake of Stephen King's horror novel, earned $17.3 million from 46 overseas territories. It cost a modest $21 million to produce.
Disney's "Dumbo," a live-action remake of the 1941 classic, placed second on international box office charts. In two weeks of release, "Dumbo" crossed $200 million globally. Directed by Tim Burton, the family friendly adventure continues to fare better overseas, where it picked up another $39.6 million this weekend. That brings its international bounty to $137.5 million, along with $76 million at the domestic box office.
To date, it has made $64.2 million overseas, along with $152.4 million in North America.” /> Universal's "Us" sustained that streak, adding $7.3 million internationally this weekend. Jordan Peele's second feature has now crossed $200 million in ticket sales worldwide. Across the globe, superheroes and horror continue to dominate box office charts.
Warner Bros.' "Shazam!" powered the international box office, generating $102 million when it debuted in 79 foreign markets.

She puts on the T-shirt just before she wanders into a house of a mirrors — a decision that will imprint on the character's life forever.
Did the current controversy create a conversation between the studio and the director?
Nyong’o’s character is a little girl when her dad wins her a "Thriller" T-shirt from a game booth at an amusement park. The movie about a couple (played by Lupita Nyong’o and Winston Duke) and their children being hunted and brutalized by a mysterious family that looks just like them opens with a scene from the 1980s.
One of the film’s central themes is human duality and the battle between good and evil. “This movie is about the fact that we are our own worst enemy,” Peele told Variety earlier this month at the South by Southwest premiere of the film.” />
Jordan Peele's horror movie "Us" is filled with pop culture references, from "Jaws" to "Goonies." But the most divisive might be right in his opening sequence. Warning, minor spoilers ahead.
"No, we start in the eighties and it’s an image of well documented duality and the film is about duality,” Peele said, adding that this nod is, "a tone-setter, and I think it sets a chilling tone, but one of much duality.”
This "Thriller" throwback surfaces shortly after HBO's documentary "Leaving Neverland," centered around Jackson's alleged sexual abuse of underage boys. The film lead to many fans calling for a boycott of Michael Jackson's music.
“No," Peele told Variety earlier this week at the New York City premiere of “Us."

13, "Weird City" quickly proves itself to be an interesting experiment, at the very least. But if you do tune into the six episodes that dropped on Feb. It takes place in a sci-fi world wherein the "Haves" and "Have Nots" are divided into starkly segregated communities by a literal line; citizens either live Above the Line or Below the Line, with all the culture shock and friction that strict delineation implies. (The production design of Above the Line's Jetson-esque sleekness versus Below the Line's rougher edges has to do a lot of work here, and thankfully, it does.)
This chapter is purposefully awkward, but the balance tips too far into a cringe-inducing nightmare. But once it hits its more earnest stride, "The One" hits a simultaneously strange and tender groove that suits "Weird City" well. As is fitting for the concept, the two have surprisingly good chemistry, though it sometimes feels the script is making the fact of their attraction the joke. O'Brien and Neill, for instance, star in the premiere ("The One") as two unlikely soulmates who find themselves torn by Weird City's strictly scientific matchmaking policies. The anthology style also means that the show's success is more hit or miss depending on the episode. But then there's the next episode ("A Family"), which features Michael Cera as an unpleasant outcast who quite literally muscles his way into a Crossfit-style gym (much to the displeasure of the resident trainer, played by Dawson).
It's the kind of show that could only exist during Peak TV, when the vast array of options can make room for bigger creative swings; it's also the kind of show that could, regardless of merit, get lost in the shuffle. There's hardly a better example of just how overwhelming the TV offerings have gotten than "Weird City." The new slick and bizarre comedy was co-created by Jordan Peele and "Key and Peele" writer Charlie Sanders, features a stacked cast, and is nonetheless stranded on YouTube Premium (though the first two episodes are available to stream for free).
Crew: Executive producers: Adam Bernstein, Keith Raskin, Linda Morel, Sam Hansen, Jimmy Miller, Tom Lesinski, Jenna Santoianni, Win Rosenfeld, Jordan Peele, Jose Molina, Charlie Sanders” />
Premiered February 13 on YouTube Premium. Comedy, 30 mins.
But again: the beauty of an anthology format is that if one episode doesn't strike your fancy, the next just might, and "Weird City's" writing is sharp and self-aware enough (and its casting exciting enough) to at least give it a shot.
This "one and done" format makes it easier for "Weird City" to enlist bigger names that might not have otherwise had the time to spend a whole season Above or Below the Line, including Dylan O'Brien, Rosario Dawson, Ed O'Neill, and Awkwafina. Each episode focuses on a different story, though some characters — like LeVar Burton's mysterious mad scientist, who may or may not be pulling all the strings — pop up throughout.

I was like, "Wow, that could work." That meant a lot to me, that men are involved in women's issues. My role in this documentary, was to tell the story as honestly and authentically that I could and to raise awareness about domestic violence and sexual assault. And that was the key element for me to decide, because if we are going to evolve to reach gender equality, it is very important to involve men. Bobbitt: I felt that Joshua was an amazing person to tell the story, and the human demeanor that he had along with Jordan Peele. To see men onboard and talk about this serious issue, to me, that was eye opening.
What was the hardest part about revisiting your story?
In one particularly disturbing clip, Howard Stern attacks Bobbitt's looks to question the accuracy of her testimony at trial. (In 1994, a jury found her not guilty due to temporary insanity.) With new interviews interspersed with old TV footage, "Lorena" director Joshua Rofe refocuses on Lorena Bobbitt's life as a victim of domestic abuse. The docuseries, which premieres this week at the Sundance Film Festival, argues that Bobbitt was re-victimized by the sexist coverage of her case.
Lorena, do you think Howard Stern owes you an apology?
And I am not going to sit around for everyone to give me an apology. Bobbitt: The way how I look at it, if I was waiting for everyone to give me an apology, then that would have prevented me from moving on with my life. I think that Howard and many others missed tremendous opportunities to talk about these serious social issues.
When did you realize the culture has reached a turning point for victims of abuse?
Were you triggered by re-watching the media coverage of how your story was covered?
"Lorena," a four-part documentary series from Amazon Studios, wants the world to see Lorena Bobbitt in a different light.
Rofe: Listen, I am from New Jersey. And the fact that you can watch that, and then make fun of her and take digs at her and actually say the words, "I don't believe her." I do not know what kind of a human being does that. It is despicable and I do not know where he is today in his internal life, but if he had even a semblance of humanity, he would publicly apologize to her. And so, where I am from, Howard Stern is like God, especially in my little town where I grew up. I understand his shtick, but the places that he went, that he would attack Lorena during her trial. As people will see in the series, she was on CNN every night pouring her heart out, having a panic attack on the stand, giving these details the way she was beaten, the way she was raped, the way she was sodomized.
Rofe: When people see this show, they are going to be shocked and horrified by the way this young girl who had survived this horrifically abusive marriage where she was beaten and raped for years was treated by the media. I mean, it was f—ing disgusting. It is beyond horrifying. We spent about eight months editing the show, and there was not a day that went by that we were not mentioning some absolutely horrifying thing that we had watched that day.
I did not know how to handle it at that time. Instead of having a serious conversation about domestic violence and sexual assault, it was about John's organ. They used me as a joke and it was very sad. It was very hurtful to me that people actually take a look at and not see the reality of what happened here. The whole essence of the whole situation is indignant. Bobbitt: I was very saddened in the way how the media was treating the whole situation.
And I applaud the efforts that this movement has brought to bring attention of sexual harassment and victims of sexual abuse. Bobbitt: The Me Too movement has helped a lot build awareness and reduced the stigma for victims. It shows the seriousness of the situation. We are looking at sexual assault and domestic violence in a different lens. It is many stories of women and men who are being victimized by domestic violence and sexually assault. And basically, women are tired of these issues, and we are concerned because these are real issues that happen to women. So, we have this documentary to see and to make people understand how much trauma a victim goes through. People evolve. My story is a story of every victim. It shows how victims are traumatized and psychologically impaired to even leave their abusers.” />
Were you surprised by what Howard Stern had said?
Although she alleged that she was raped and abused by her partner John Wayne Bobbitt, some of those details got buried in the sensationalistic media coverage. In 1993, the 24-year-old woman became a tabloid fixture and late-night punchline for cutting off her husband's penis with a knife.
15. The docuseries, which was produced by Jordan Peele, airs on Amazon Prime Video on Feb. Bobbitt and Rofe spoke to Variety about their project and why Bobbitt's story is more timely than ever in the Me Too era.
I owe this to my child. And Joshua knew every time that he came and filmed me how devastated I was, and how emotional it was just remembering those traumas that I lived through. I owe this to women who are victims of domestic violence." The most important thing was to address the social epidemics of domestic violence to actually educate people. It was just the turning point to get to this awareness. Bobbitt: For the whole documentary, a lot of things triggered [me]. It was my duty as a woman to tell the story because it took tremendous emotions to go through this. It was very important to address this in the documentary. Basically I just had to say, "Look, I owe this to myself. And not only awareness, we are actually changing the life of somebody who is a victim, or who is victimized, or who is a survivor of domestic violence.
Josh, why did you want to make a documentary about Lorena?
It was self-defense, essentially. I was taken aback by how people would respond to victims of horrific trauma. I reached out to Lorena and I expressed how I would like to tell the story. Joshua Rofe: My second doc, called “Swift Current,” is about the longterm effects of childhood sexual abuse. In my estimation, what she did was basically fighting for her life. And, so with that in mind, cut to December 22, 2016, and I am scrolling through Facebook, and I see a Huffington Post headline that says, "Lorena Bobbitt is Done Being Your Punchline." I immediately thought I want to tell this story, and I spent the next few days just going down the rabbit hole of Lorena's story. For me, Lorena was the ultimate example of somebody who had been victimized so horrifically, but all of the focus of the world at large was not on what she had experienced, but on what she had done in response to what she experienced.

All of the films in the series have a political slant, he argues. The film hits theaters on July 4, and Blum says it will deal with racial tensions in America. Instead, Blum is gearing up for "The First Purge," a prequel that will explain the series' central premise — a portrait of a dystopian society that suspends laws for one day every year. For instance, 2013's "The Purge" was primarily a parable about gun control, while 2016's "The Purge: Election Year" grappled with class warfare, something that was eerily prescient when Donald Trump captured the White House a few months later on a populist message.
"I could not have pulled it off," admitted Blum during a recent interview with Variety. It’s a big movie." "I would have loved to produce the movie, but I don’t think we would have done it as well as they did it, because it’s a totally different space that we operate in.
"If every time there’s a shooting in the United States, the government's answer is put more guns in people’s hands then what 'The Purge' is showing doesn't seem all that crazy," he said. "Donald Trump keeps saying 'give teachers guns.' I could see him saying, 'let people shoot whoever they want to for 12 hours a year.'"
His list of credits ranges from "The Purge" to "Insidious" to last year's Oscar-winning "Get Out." But there's one recent horror smash that doesn't carry Blum's imprimatur, and it's a film that the producer admits he never could have made.
Jason Blum is one of the most successful producers in the horror business.
"Effects in horror movies are almost impossible to do well and that's why you rarely see them in our movies." "The effects in that movie were spectacular," said Blum.
"Horror does incredible things," said Blum. 'The Purge' reaches an audience that isn’t thinking of gun control every day and might start thinking of gun control." "It reaches an audience in which politics may not be front of mind and it makes politics front of mind.
Much of the budget on "A Quiet Place" was spent crafting its terrifying and tentacled creatures. It's also because there aren't a lot of special effects. The costs do climb in each subsequent installment, sometimes reaching $10 million or above for sequels. Part of that belt-tightening is attributable to a financial model in which actors and directors take a lower upfront fee in exchange for a percentage of the profits. The film was instead produced by Platinum Dunes, "Transformers" director Michael Bay's shingle, and had a more robust price tag than Blum's micro-budget offerings. Blumhouse films that aren't part of a pre-existing franchise have budgets under $5 million.
Nor is the grim future it imagines different from our current, politically divided present, Blum argues.
Also on deck are the Hulu series "Into the Dark," a sequel to "Happy Death Day," and "Glass," a mashup of "Split" and "Unbreakable." That's due out in October, just in time for the titular holiday. Blum's dance card is full. This summer sees the release of HBO's "Sharp Objects," a twisty thriller he produced, and he's also prepping for a reboot of "Halloween" with Jamie Lee Curtis returning to the role of Laurie Strode.
That would be "A Quiet Place." John Krasinski's sly riff on the alien invasion genre was the breakout hit of the spring, grossing $326.3 million on a $21 million budget.
"If Jordan wants to do a sequel, I'll do it in a second, but it has to come from Jordan Peele," said Blum. "I think he's flirting with the idea."” />
And even the snootier set is taking notice. It's a tough act to follow, but Blum isn't ruling out a "Get Out 2." "Get Out" was written and directed by Jordan Peele and hit a nerve with its portrait of race and socioeconomics, a critique it delivered while also being extremely scary. "Get Out" represented a rare brush with legitimacy for the horror genre. The film earned critical raves and picked up four Oscar nods, including a best picture nomination, something that's nearly unheard of for a scary movie.
He noted that "A Quiet Place" was confident enough in its creature creations that it showed them extensively.
"It’s a no-no, because every time you get a look at it, it's often much less scary than what you could have imagined. That's not true in this movie, and that's to their credit." "You get a good look at the monster, which is usually a real no-no in horror," said Blum.

Using an unexpected strategy, he decides to call the head of the KKK on his first day. The clip opens with John David Washington's Ron Stallworth arriving for his new job in law enforcement, where he has been assigned to take down the Ku Klux Klan.
“BlacKkKlansman,” directed by Lee, is based on the true story of Stallworth, a Colorado Springs black police officer who went undercover and successfully infiltrated a Ku Klux Klan chapter. Stallworth detailed his experience in his 2014 novel “Black Klansman.”
Stallworth and Zimmerman work to impede the KKK’s efforts to control the city. Washington (“Ballers”) takes on the role of Detective Stallworth, while Adam Driver plays his partner Flip Zimmerman, who pretends to be Stallworth after he makes contact with the KKK.
Following the film's world premiere at the Cannes Film Festival, Focus Features has released the first trailer for Spike Lee's “BlacKkKlansman.”
"Since you asked, I hate blacks. "But my mouth to God’s ears, I really hate those black brats. I hate Jews, Mexicans and Irish, Italians and Chinese," he tells the KKK leader over the phone, as the rest of the office eavesdrops in dumbfounded amazement. And anyone else, really, that doesn’t have pure white Aryan blood running through their veins.”
10.” /> “BlacKkKlansman” hits theaters on Aug.
"For you, it's a crusade. For me, it's a job," Flip tells Ron in the midst of the caper.
In addition to writing the screenplay, Lee also serves as producer along with Jordan Peele, Jason Blum, Sean McKittrick, Raymond Mansfield, and Shaun Redick.
"You're Jewish. Doesn't that piss you off?" Ron replies. They hate you. "Why are you acting like you ain't got skin in the game?"
Also starring in the film are "Spider-Man Homecoming's" Laura Harrier and Topher Grace, who will be portraying former KKK leader David Duke.