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Film: We Are What We Are
Release date: 21st March 2011
Certificate: 15
Running time: 90 mins
Director: Jorge Michel Grau
Starring: Francisco Barreiro, Alan Chávez, Paulina Gaitán, Carmen Beato, Jorge Zárate
Genre: Drama/Horror/Thriller
Studio: Chelsea
Format: DVD & Blu-ray
Country: Mexico
We Are What We Are is Jorge Michel Grau's independently produced, genre-bending shocker, acclaimed as the Mexican Let The Right One In (2008). With big shoes to fill, has this grisly satire got the stomach to compete with one of the greatest horror films of recent times?
Dying in the middle of a shopping mall, a middle-aged man leaves his widow, two sons and daughter destitute. Not only will the devastated family have to cope with their terrible loss, but without a breadwinner in the house, they also face a massive challenge.
Not that bread will satisfy this family of cannibals, driven to eat human flesh in the Latin American urban jungle rife with poverty and corruption. Justifying their bizarre diet with ritual blood ceremonies is one thing, but now they must decide who will provide the victims now that father has gone.
The task falls to the eldest son, Alfredo, yet he's far from ready to accept the challenge, carrying a secret that will rip a hole through his family, thus finally supplying the desperate police force with a recipe for success…
You know that you’re on to something good when you’re rooting for a bunch of flesh-eating cannibals. Either that or the other characters are so unpleasant you have little choice in the matter. Director Jorge Michel Grau has created such a bleak world filled with poverty and decay that you are forgiven if at any point you hope this dysfunctional family finally manages to find some food for the table.
The youngest are certainly the victims here. Whereas the prostitutes and bent cops had, at some point, a choice in which direction to take, the three children had no such luck, raised into a family that already relied on human flesh as their only means of protein. Why the mother, played with such menace by Carmen Beato, decided to pursue her husband’s odd dietary requirements, especially as she despised whores, isn’t really explained, and it leaves a sour taste because for the most part she revels in being by far the strongest character.
This isn’t a unique family either, because throughout, cannibalism, although revered, is seemingly treated as a common occurrence, almost on a par with shoplifting. This is hardly surprising when you witness Grau’s Mexico City, rife with official incompetence and corruption. In a world where nobody trusts anyone, the cannibals are just another band of scum that need to be wiped out. It’s certainly an interesting angle, summed up superbly when the daughter tries to persuade her siblings to take a lady of the night, insisting they should, “Hunt down a whore. It’s not cheating - we’ll dress her in my clothes.”
It’s this battle that holds the most interest. Beato juggles her dual roles of monster and mother quite superbly, but it’s the loathing of her husband’s acquired taste that leads to the film’s standout scenes: her dispatching of a hooker, the special delivery that succeeds it, and her final comeuppance are easily the better of a sub-plot involving the seedy policeman and his quest for approval from his comrades. Having said that, Grau still manages to deliver a scene even camper than Alfredo’s out of place sexual meanderings when the streetwalkers chase his brother Julian down the street.
For the gore-hounds, there is surprisingly little on offer here. This isn’t necessarily a bad thing, although, at times, it wouldn’t hurt for a few more slashes of violence. Too much happens off screen, and although, in certain cases, it’s best to leave some horrors to the viewer’s imagination, here it would arguably add a little bit more clarity. Having said that, a brief scene that shows the teenage boys sexually toying with their victim, as any teenage cannibal would, comes as such an explicit surprise, you’ll be disappointed to find it cut short by their mother who halts proceedings the only way she knows how.
Suggesting rather than showing, We Are What We Are changes direction in the final act, and somehow comes to life as the ailing police force raid the family home. How they came upon the property so swiftly is a bit of a headache, but the ensuing shoot-out will wake most viewers from their quiet slumber of satisfaction, surprising some, upsetting others, with a finale that will divide opinion. It may be a lazy way to end proceedings, or it may be the inevitable outcome, but it’s certainly entertaining.
And here lies the problem. Whereas their father’s death, staggering through a shopping mall in the city, clutching his stomach before collapsing in front of semi-clad mannequins in a shop window is poetic, the police autopsy soon after introduces a character so pointlessly over the top it’s embarrassing. A sub-plot that revolves around their mother’s hatred for prostitutes is ruined by another about a dirty cop who wants to go out with a final bang, pulling the trigger to a finale that doesn’t quite sit right. A film that, at times, tastes of chalk rather than cheese, inhibited further by the lack of brutality on show, or in fact, a lack of anything that doesn’t even warrant debate, means that the final serving will probably leave the audience hungry.
If Grau had stuck to his guns, and concentrated on the far more interesting family relationships and the conflict generated, heightened by such a distressing series of events, We Are What We Are could’ve sat proudly beside Let The Right One In as one of the most beautiful horrors of the last decade. Instead, it’s memorable, but not a classic. DW
A middle-aged man dies in the street, leaving his widow and three children destitute. The devastated family is confronted not only with his loss but with a terrible challenge - how to survive. For they are cannibals.
The group have always existed on a diet of human flesh consumed in bloody ritual ceremonies - and the victims have always been provided by the father. Now that he is gone, who will hunt? Who will lead them? How will they sate their horrific hunger?
The task falls to the eldest son, Alfredo, a teenage misfit who seems far from ready to accept the challenge... But without human meat, the family will die.
Following its major theatrical release, shocking, bloody and deeply moving, We Are What We Are is a remarkable reinvention of the horror genre - a visceral and powerfully emotional portrait of a family bound by a terrible secret and driven by monstrous appetites.
Film: We Are What We Are
Release date: 21st March 2011
Certificate: 15
Running time: 90 mins
Director: Jorge Michel Grau
Starring: Francisco Barreiro, Alan Chávez, Paulina Gaitán, Carmen Beato, Jorge Zárate
Genre: Drama/Horror/Thriller
Studio: Chelsea
Format: DVD & Blu-ray
Country: Mexico
Film: Sin Nombre
Release date: 1st February 2010
Certificate: 15
Running time: 101 mins
Director: Cary Fukunaga
Starring: Edgar Flores, Paulina Gaitan, Jesus Lira, Kristian Ferrer
Genre: Adventure/Crime/Drama/Thriller
Studio: Revolver
Format: DVD
Country: Mexico/USA
Girls, gangsters and a road trip mean only one thing these days, especially when divulged by a young Spanish-speaker. Cary Joji Fukunaga jumps on the Latin coming-of-age bandwagon with a road movie driven by fear and family. In streets ruled by violence, where honesty is absolute, who can a runaway trust?
The three young protagonists, Casper (Flores), Smiley (Ferrer) and Sayra (Gaitan) are quickly established as hailing from old-fashioned families. With their elders’ focus on settling them down, the youngsters have developed something of double lives to accommodate their natural desire to deviate.
Street-wise and savvy, the trio dabbles in warfare and crime. Smiley goes through agony to join Casper’s crime family, the Mara Salvatrucha. Yet spurred by the killing of the girl he loved, Casper is making efforts to leave. The course of the film is based around his long, risky trek from Guatemala to New Jersey.
He is joined by Sayra, whose relatives are the optimum of the traditional family. The importance of unity has led them to send her to the USA to rediscover distant relatives and she accompanies Casper on his escape…
Casper and Sayra’s very different motives but identical journey encapsulates the division between generations. This is a concept not exactly unfamiliar in recent Latin cinema, and Fukunaga seems to have been captured by the same fascination as his peers. Those already familiar with the work of his contemporaries are unlikely to make any enlightening discoveries in Sin Nombre, but the seedy taste of gangland living lends it a slightly darker feeling than some forbearers. Grounded by very physical and very real threats, a smidge of sentiment is replaced by excitement, which is often lacking in other Latin New Wave films.
Crime and punishment may govern Fukunaga’s coming-of-age story, but family is just as influential. By entrusting their beloved to the care of an ex-gangster and his baggage, Sayra’s relations unknowingly push her into a family of quite another kind. This one is just as devoted, but conversely motivated, with a knack of turning adults into children and friends into enemies. The ‘father’ punishes as he sees fit, initiating rituals that suspiciously resemble Smiley’s initiation - a blood-thirsty affair in which grown men barbarically attack the small boy.
So powerful is this network of gang members that, rather obviously, escaping them is far from easy. At times, the Mara seem one step ahead of Casper, and even North America isn’t quite the sanctuary that he needs. Casper turns this to his advantage - or so it seems - by calling upon his own American associates made during his gangster stint.
Dishonesty is an expensive trait for anyone caught up in this lifestyle. Whilst Casper’s ‘aunt’ (by alliance, not blood) helps the pair make their next get away, she is equally loyal to those who pursue them, and it becomes clear that she won’t put her neck on the line by lying for their sake. Apparently, this is the general rule of thumb in the realm of gangsters, invoking a weighty underlying edge of misgiving. Some might make accusations of cowardice and some might call it wisdom, or survival - whatever label viewers choose to attach, this consistent hunch of caution accommodates a little character reflection.
And, despite the youth of the leading cast, they bring the necessary depth and insight. Ferrer’s performance during Smiley’s initiation is painful to watch - but in a good way. Convincingly suffering for his cause, emotions are pulled at the pitiful sight of the boy curled at the feet of men. When he is pulled to his feet and turns to the camera, an unsettling grin of blood on his lips, the heart is apt to crumble in two as a single question booms loud: why? Gaitan’s character of Sayra is also a persuasive one. Her feelings, for example, when informed of her journey north to meet her husband-in-waiting, are perfectly illustrated on her young face. Marred with despair, the young actress portrays a character of sympathy, but also of inner strength, determination and eventually hope, without overacting the script.
If you can’t trust your family, who can you trust? Sin Nombre is both tragic and inspiring, and certainly quenches that current thirst for Latin American teenagers. It does, however, risk being overlooked in a few years’ time; if nothing else simply due to timing. This New Wave’s ground breakers have come and gone, and Fukunaga’s latest is likely to be lost in their shadows. Although polished, it is not quite Hollywood, not quite indie - not quite a gangster film and not quite a love story. Still, for fans of the movement, it is definitely worth watching, and for those who haven’t yet experienced more acclaimed titles, it will prove an engaging and enjoyable watch. RS
A middle-aged man dies in the street, leaving his widow and three children destitute. The devastated family is confronted not only with his loss but with a terrible challenge - how to survive. For they are cannibals…
They have always existed on a diet of human flesh consumed in bloody ritual ceremonies - and the victims have always been provided by the father. Now that he is gone, who will hunt? Who will lead them? How will they sate their horrific hunger?
The task falls to the eldest son, Alfredo, a teenage misfit who seems far from ready to accept the challenge... But without human meat the family will die.
Shocking, bloody and deeply moving, We Are What We Are is a remarkable reinvention of the horror genre - a visceral and powerfully emotional portrait of a family bound by a terrible secret and driven by monstrous appetites.
Film: We Are What We Are
Release date: 12th November 2010
Certificate: 15
Running time: 90 mins
Director: Jorge Michel Grau
Starring: Francisco Barreiro, Alan Chávez, Paulina Gaitán, Carmen Beato, Jorge Zárate
Genre: Drama/Horror
Studio: Artificial Eye
Format: Cinema
Country: Mexico
Film: Sin Nombre
Release date: 1st February 2010
Certificate: 15
Running time: 101 mins
Director: Cary Fukunaga
Starring: Edgar Flores, Paulina Gaitan, Jesus Lira, Emir Meza, Kristyan Ferrer
Genre: Drama/Thriller/Action
Studio: Revolver
Format: DVD
Country: Mexico
For countries like the UK, immigration is always high on the political agenda, with the public fearful of ‘undesirables’ making their way across the border, and setting up nearby residence and interfering with their comfortable, ignorant lifestyles – with little thought or care for who they are (hence the title, which translates to “Without A Name”) or what atrocities has brought them to their doorsteps. Using firsthand experience, writer/director Cary Fukunaga offers a scarily realistic insight into what may motivate a person to make such a precarious journey to a foreign country, where only public vitriol and struggle for acceptance awaits.
El Casper “Willy” (Edgar Flores) is a member of a fearsome gang, keen to recruit child El Smiley (whose initiation consists of a group beating from muscle-bound adults) into his way of life, and with the capability to murder a rival gang member without a second thought. However, he lives a second life, meeting up with his attractive girlfriend Martha, who dreams of something better for them both, unbeknown that Casper would never be allowed to break away from his ‘brothers’.
Aware of his fellow gang members’ capabilities, Casper keeps this relationship under wraps, but when one of his rendezvous’ impinges on his obligations to the gang, he is dealt a brutal punishment – but none crueler than the death of his partner, who perishes when trying to escape the evil clutches of would be rapist, gang leader Lil' Mago.
At the same time, Honduran teenager Sayra (Paulina Gaitan) has been reunited with her father, who is taking her across Mexico on the promise of a better life, and a new family in New Jersey.
When El Casper, new recruit El Smiley and the gang’s leader board the same train as Sayra, a now crestfallen Casper will take the opportunity to exact revenge on his lover’s killer – a decision that will save Sayra all manner of pain and suffering, but one that will make an already difficult and testing journey to the USA all the more dangerous…
Although filmmaker Cary delivers a decent cat-and-mouse thriller, as his once apprentice El Smiley sets out to deliver El Casper’s punishment and gain acceptance into the gang, what really stays with you after the credits have rolled is everything that surrounds the main story – the bigger picture.
In many ways, the thriller aspect is almost inconsequential – instead the picture provokes a number of questions about humanity - how can we allow fellow human beings to find themselves in such dire circumstances in the first place, and then how can we have the audacity to vilify them for joining gangs which offer them support and security unavailable elsewhere, or wanting to escape to another country where rape and pillage isn’t the norm?
Having spent years researching the film, including spending time with gang members (inside and outside of jail), immigrants (including youngsters who had lost limbs) and riding freight trains, Cary has been able to capture enough, if of course not all of what it must be like for these people – the desperation, uncertainty, fear and most of all sadness is palpable on every character’s face, including those who make up the enemy contingent here (who are unquestionably scary).
Without a big budget, there’s no real opportunity for flash or exaggeration, so we are left with an almost documentary-style attitude to filmmaking (augmented by the use of untrained actors with real experience of this way of life) – taking in the beautiful scenery, and bleak slums, that pass by; the uncomfortably realistic assaults; the huddled groups of anxious, poverty-stricken passengers who have to contend with the elements, undesirables, disgruntled passersby and border patrols; and the sheer humiliation – taken into custody and strip searched when you don’t have the right documentation.
Yet for all the despondency, the betrayal of a ‘friend’ to Casper as he tries to plot a safe journey to America, and all the heartbreak that the story does deliver before the end, you also gain an insight into the camaraderie and community support that see these people through – and the hope. Early on we see Casper hold a gun with El Smiley and shoot an already badly beaten rival gang member, yet by the end he is willing to sacrifice his own life to save that of a girl he’s only recently befriended. With more subtlety, we see children running by the side of the train and throwing up fruit (although, with a neat comic touch to lighten the mood later on, these turn to stones and cries of “f**king immigrants!”), people sharing what are obviously limited supplies, and communities welcoming and supportive.
The film doesn’t offer a solution, so you take in the events and are left to surmise for yourself, but it’s an eloquent rant that highlights why it’s so important foreign-language cinema gets a bigger platform and better exposure in countries such as the UK and America, where Hollywood dominates with nothing of consequence left to say, and any reaction from viewers attributed to the bizarre results of the lead’s latest facelift.
The film’s only failing is in that in opening up and revealing such a big, heartrending issue, the main story, although delivered at a good pace, doesn’t quite have the muscle to rack up the required tension in the lead up to a fairly predictable and unoriginal ending.
With such commendable motives, you can forgive Cary for any failings in the story’s execution, bringing to light a subject so often distorted by middle England’s stranglehold on the media and politics in this country, with all his care and passion resonating clearly on the screen. DH
