We Are The Flesh Blu-Ray Review
*Noe Hernandez as Mariano
*Maria Evoli as Fauna
*Diego Gamaliel as Lucio
Story: After wandering a ruined city for years in search of food and shelter, two siblings find their way into one of the last remaining buildings. Inside, they find a man who will make them a dangerous offer to survive the outside world.
Arthouse horror is a very divisive subgenre, as all arthouse films tend to be. Look no further than last year’s The Neon Demon, Nicolas Winding Refn’s film that thoroughly split the horror community. Some fans called it one of the best the genre had to offer while others ripped it apart and said it was one of the worst.
A lot of these films tend to have a lot of style and somewhat nonsensical stories (depending on who’s directing). Some even try to push the envelope such as Nekromantik or AntiChrist. It could be argued these are just more stylish exploitation films, but sometimes there is a message thrown in as well. Either way, there will be just as many people who hate one of these movies as there are people who love them.
We Are The Flesh is the latest in that style, a Mexican-French effort that appears to be set in a post apocalyptic age. A brother and a sister come across a man who is absolutely insane, and in spite of this, they decide to stick around for the possibility of food. He then begins to tempt them with sin, particularly incest, as he really wants to see a brother and sister go at it, for some reason. Not only does he get his wish, he gets it early and things only break down from there.
This movie is exploitation disguised as art. It’s something like Salo, which had a lot of shock value scenes in it as well, but had some critics praising it for his commentary or message. That message may be there, but it’s still a movie about rape and people eating feces. This is the same way. Whatever director Emiliano Rocha Minter attempts to say is drowned out in the graphic nudity, disgusting depravity and what appears to be real sex (although obviously not real incest, thankfully).
The shock value isn’t a reason alone to ignore the film, however. Lars Von Trier’s Anti Christ had two grotesque moments of sexual gore almost at the same time and yet it’s still a well-acted, well-directed film. This is in no way coherent. It’s merely a collection of scenes with a loose theme that falls apart quickly under the weight of its own surrealism. It becomes less a matter of trying to figure out what’s happening and more of just waiting for the next crazy thing to happen.
There are two saving graces for this film that keep it from being truly awful. The first is how it is shot. If nothing else, Minter definitely has an eye for stylish films and it should serve him well in the future. He is somehow about to make a dreary cave vibrant and alive.
Second, the performance of Noe Hernandez is tremendous. He plays insanity so well it makes you wonder if he isn’t just some crazy person they picked off the street. He absolutely steals all the scenes he’s in, which makes a middle portion where he’s not present hard to sit through. That’s a credit to the actor when not having him in the film is a detriment.
However, a great performance and some well-shot scenes can’t save a movie that’s a nonsensical mess. We Are the Flesh is an assault to the senses in addition to shocking scenes for the sake of being shocking. It’s one thing if the moments serve the story, but there’s so little story to serve that it’s just a bunch of vignettes with poor taste.
We Are The Flesh will no doubt have its fans. There are people who enjoy films that brazenly go for nothing but shock value. There are others who may see artistic merit that Minter was trying to establish. However, this is clearly not a film of substance in the classic sense and feels more like Faces of Death with better cinematography. There are several films that might be labeled “arthouse horror” that are just as out there as this but also more coherent and worth your time. Seek those out and ignore this.
We Are The Flesh is a brand new film, so you would expect the audio to be in the upper echelon. It’s not Hollywood-level sound or anything, but it’s still very good. It’s presented in Spanish in either DTS-HD Master Audio 5.1 or LPCM 2.0
Similar to the audio, the video looks great as well. One of the film’s biggest positives is how it is hot and the transfer on the blu-ray reflects that. The colors are vivid and you can see everything crystal-clear, whether you want to or not. It’s presented an aspect ratio of 1.92:1 (it’s original aspect ratio is 1.85:1) with an AVC encoded 1080p transfer.
Dentro: The first of two short films from Minter. This one is in black and white and follows the same style as the film, although it is a little more coherent.
Videohome: This is in color and is more of a series of clips over ten minutes that doesn’t make as much sense. Lots of weird stuff going on, including more sexual experimentation.
Interviews: There are four interviews here, running at just over an hour total, about the making of the film. It includes Minter, Hernandez, Evoli and Gamaliel.
There is also a trailer and a behind-the-scenes gallery.
Overall, it’s only the kind of features you’re going to enjoy if you’re a fan of the film. The interviews are average and the overall amount of content isn’t enough for anyone but people who liked it and want some insight.
Special Features: 5.0