Os Parkers, uma família reclusa que segue costumes antigos, encontram sua existência secreta ameaçada quando uma chuva torrencial se move em sua área, forçando as filhas a assumir responsabi... Ler tudoOs Parkers, uma família reclusa que segue costumes antigos, encontram sua existência secreta ameaçada quando uma chuva torrencial se move em sua área, forçando as filhas a assumir responsabilidades além das de uma família típica.Os Parkers, uma família reclusa que segue costumes antigos, encontram sua existência secreta ameaçada quando uma chuva torrencial se move em sua área, forçando as filhas a assumir responsabilidades além das de uma família típica.
- Prêmios
- 5 vitórias e 11 indicações no total
- Emma Parker
- (as Kassie DePaiva)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Enredo
Você sabia?
- CuriosidadesBased on the screenplay "Somos Lo Que Hay" by Jorge Michel Grau.
- Erros de gravaçãoThe dungeon door's window bars were removed each time the camera looked through it. Four wide vertical bars were visible in approach and open door shots.
- Citações
Marge: I heard somebody down in the shed earlier.
Iris Parker: It must've been Daddy. He's the only one allowed down there. Ever.
Marge: Well, it sounded like a girl crying.
Iris Parker: I don't know what you think you heard, but you must be mistaken.
- ConexõesFeatured in At the Movies: Cannes Film Festival 2013 (2013)
The film does noticeably carry along at a slow pace in its first half as the moviegoer adjusts to the environment and carefully observes this rural atmosphere and its wildly strange inhabitants. Once you familiarize yourself with the family's habits as their backstory unravels, the film begins to kick in. In defense to the flak the film's been receiving from critics who're essentially panning its sluggish pace, I'm forced to question why Terrence Malick's films (the earlier works, especially) are met with such unanimous applause because they perfectly replicate what it means to be excruciatingly slow-paced. With this unfolding plot, the pace eventually picks up in its latter half (unlike Malick's persistence in meddling pace), and we're ultimately greeted, for lack of a better term, with a remarkably tense ending, which serves as a pinnacle in conclusions. Although the film is frankly plagued by an element of predictability due to the way some scenes are shot, an edge of unpredictability is highly prevalent throughout the finale. The crowd encounters several twists and turns along the way until all has been exposed and the conflict hits its marvelous peak. Basically, this is one of those movies that are definitely redeemed by the exceptional manner in which the story wraps up.
By the way, this is, at the end of the day, a horror film in essence, and I greatly appreciated the film's preference of storytelling rather than the mindless path of excessive gore and pointless violence, that which infests the horrendous contemporary horror flicks. Admittedly, I found myself losing interest in the film's events and ensuing mystery until it finally reaches that sweet spot halfway through the story (as previously mentioned). In addition, it's superbly acted with the whole cast terrifically fitting into their roles and the father perfectly conveying that look of menace, intimidating everyone around him with a low-pitched, frightening voice and a werewolf-like, unshaven face. However, I'll have to mention just how irritated I was by the amount of mumbling that was occurring during the beginning. It was extremely difficult to grasp a single word out of their mouths, and I can't possibly stress just how much I hate actors' decisions to mumble. Understandably, they're often found in miserable positions. Regardless, without subtitles, you're left to struggle with understanding as the tale progresses.
Furthermore, the cinematography is undeniably beautiful at times and then, it also serves well when it comes to telling the story with that hint of tension and suspense (the primary goal of a cinematographer, in the first place, before going for fancier shots), complementary to the mise-en-scène as well. The director's consistent use of rack focusing undoubtedly contributes to the outstanding execution of some specific scenes, especially the grand finale. In the end, the film isn't fascinatingly complex or considerably intelligent, but it absolutely works in terms of plot, camera-work, and performances. Though the music disappointedly isn't striking and feels fairly bland and generic (removing potentially greater suspense and eeriness from the final product), We Are What We Are will likely stick in your mind due to the completely unexpected and pulsating intensity that erupts as it nears the finish mark.
- FilmMuscle
- 22 de out. de 2013
- Link permanente
Principais escolhas
- How long is We Are What We Are?Fornecido pela Alexa
Detalhes
- Data de lançamento
- Países de origem
- Central de atendimento oficial
- Idioma
- Também conhecido como
- Somos lo que hay
- Locações de filme
- Margaretville, Nova Iorque, EUA(Town and surrounding areas)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Faturamento bruto nos EUA e Canadá
- US$ 81.381
- Fim de semana de estreia nos EUA e Canadá
- US$ 13.727
- 29 de set. de 2013
- Faturamento bruto mundial
- US$ 159.047
- Tempo de duração1 hora 45 minutos
- Cor
- Mixagem de som
- Proporção
- 2.35 : 1