We Are What We Are

In Mexico, the patriarch (Humberto Yáñez) of a family of cannibals dies in a shopping mall. He is a watchmaker that supports his family and his sons Alfredo (Francisco Barreiro) and Julián (Alan Chávez) go to the street market to work in his booth. However the manager evicts them from the market since their father owes three-week rental to her. When they return home, their sister Sabina (Paulina Gaitan) informs that their father has died in the mall. While the three siblings discuss who will be the family provider for their rituals, their mother Patricia (Carmen Beato) locks herself in a room. Alfredo and Julián initially assume the responsibility but they are clumsy and soon two corrupt police detectives track them down.

"Somos lo que hay" is an unpleasant Mexican low-budget movie with displeasing characters. A couple of days ago, I saw the good 2013 remake and I was curious to see the original feature. I found it very disappointing, with nasty characters and situations. Further, it is difficulty to say if the author of this horror movie wishes to show social problems in Mexico (poverty, prostitution, corrupt police etc.), drama or whatever. My vote is four.

Title (Brazil): Not Available on Blu-Ray or DVD

When I saw the beginning and the first 10 minutes, I thought what have I let my self in for, this is going to be awful, but it got better, and by the middle seemed to have an OK story line and the cinematography improved. But at the start the shots were unbearably bad and throughout the whole film the acting was atrocious, some of the worst acting I've ever seen in a film.

However, this film is OK at the end, not really one to go out of your way to see, but if your bored, and have nothing better to do and are at the cinema already, It's watchable. Although my flat mate said, it was one of the worst films he has ever seen, worse than piranha 3d, but what does he know, his favourite film is Phone Booth.

A 6/10 and an OK watch, for South American film fans, but not for those usual Hollywood film fans.

Billed as a 'cannibal gore-fest' (on the DVD cover) this definitely is not. It so isn't, but what it is, is a clever drama about cannibals, with very little cannibalism. It is very much like, and maybe fueled by films like 'Let Me In'.

The film is about a man, who is a father and husband that dies from flash poisoning. He leaves behind a family of four, who will now have to hunt for their own flesh as he was the provider. The family is led by an erratic mother, intent on keeping the 'ritual' alive and keeping her family hidden. This however remains difficult as the sons try to step up and do the hunting (of prostitutes) and mess up, alerting local detectives and prostitutes.

The ending is good and some elements make this film a creditable experience, with some unique flavour (not blood) and I am left admiring it for what it is.

We are what we are is the rarest of beasts, a macabre tale that has the power to delight and disturb in equal measures with its unique take on a family under turmoil. Unlike the majority of horror films that focus on the victims and their struggles against evil, this unflinching portrayal of cannibalism follows a family of killers and their struggle to survive in the harsh and unforgiving environment of the Mexican suburbs.

After the head of the family meets a gruesome end, it falls upon his eldest son, Alfredo, to take responsibility for the surviving members; his younger siblings and his grieving mother. Each of them have their own agendas and it is not long before these conflicting issues result in horrifying consequences for both the family and the people they prey on for food. The less known about the storyline the better, which is why my description of the plot is suitably vague, as the majority of the films more unsettling moments come as a complete surprise for the unsuspecting viewer.

Apart from Antichrist, this is the only film I have viewed where audience members have left the cinema during the more graphic scenes, and this certainly confirms that We are what we are is a very powerful film, not for the faint hearted but very rewarding for those that persevere. With cinematography on par to that of the hauntingly beautiful shots seen throughout Let the Right One In and a subject matter as realistically brutal as the gruesome deaths of the unsuspecting victims in The Texas Chainsaw Massacre, this is a perfect example of an atmospheric horror that chills you to the core by combining a stark yet realistic situation with unflinching scenes of violence.

The majority of modern horror films rely on cheap scares and shock tactics to batter the viewers senses and it is encouraging to see that there are still directors out there who clearly have a great respect for the genre and shift their focus towards creating a brooding atmosphere and a compelling storyline. This brave and accomplished attempt at reinvigorating a stale genre certainly marks Jorge Michel Grau as a promising director for the future and whilst We are what we are may not be the masterpiece that horror fans are hoping for, it certainly comes pretty damn close.

8/10

'We Are What We Are' (Somos Lo Que Hay) has been acknowledged by many as the 'first Mexican cannibal film,' and whether or not this statement is true, 'WAWWA' isn't by any means a typical cannibal film. If anything, this film is more like a socio-political examination of the current run-down Mexican slums, with the story of a family of cannibals lightly sprinkled on top to allow engagement of behalf of the audience. While the socio-political examination and subsequent criticism of Mexican society is executed well, the story itself falters and could have done with a stronger, more focused script.

Beginning with the death of the family's patriarchal father (Humberto Yanez), who stumbles drudgingly through a modern shopping centre before collapsing in a dead heap in broad daylight. Instantly, director Jorge Michel Grau provides the audience with the issue of class divide in modern Mexico. As he lays on the concrete motionless, prospective middle-class shoppers casually avoid who they believe to be a dying or dead homeless man, before the cleaning crew of the shopping centre are called in to remove the body. The lack of respect, and humanity with which the public treats the dying father, alludes to the fact that Mexico is attempting to raise its public image both domestically, and internationally, and to do this, the lower classes must not be seen nor heard. The following scenes establish not only the family dynamic, but the sub-plot of the corruption in the Mexican police force. During the autopsy of the father, the pathologist reveals the family's dark secret; that they are cannibals (through finding a whole finger in his stomach), while the Police, initially uninterested in case, and now believe that this could be their big break financially. "Break this case and we will meet the President." The Police and authority throughout are portrayed as corrupt, lifeless soles that do their jobs for the acclaim, and celebratory status, rather than to curtail social dis-order in the Mexican slums. Crimes between the lower classes seem to be a free-for-all for justice, unless the social rewards are substantial enough to garner a response from the middle-class authoritarians. Essentially Grau provides the visual metaphor of the lower-classes 'eating' each other (through the representation of the family), and succeeding in doing a job that those who live beyond their means, do not wish to engage with. However when the classes collide, with the cities, the countries, reputation at stake, the authority must strike down with a powerful fist, to preserve a reputation suitable for wealthy locals and tourists alike.

Back in the family's household, with the father presumed dead by their daughter Sabina (Paulina Gaitan), and with their mother becoming increasingly withdrawn (Carmen Beato), it is left to the older brother Alfredo (Francisco Barreiro) to take over the patriarchal role of the family, while also keeping his hot-headed, psychopathic younger brother Julian (Alan Chavez) in line. His first business as the new head of the house-hold is to find a suitable woman for the family's cannibalistic rituals. Instead of concerning himself with the use of shock-tactics and horror clichés, Grau focuses more on the destruction of the nuclear family and how each member of the family becomes increasingly unstable as more and more responsibilities and lumped upon them. Alfredo fails to become a hunter like his father and feels effeminate; the mother becomes distraught and erratic as she attempts to overcome the news of her husband's death, while Sabina, as the young, female of the family, rapidly descends inwards as she is forced almost instantly into the nature of adulthood.

The performances by all the members of the family, and the supporting cast of prostitutes and policemen, are somewhat disturbingly beautiful. In the slums of the city, they must day by day, year by year, drag themselves up and attempt to create a living in the world of the prostitutes or a meal on which to survive in the world of the family themselves. While the direction, and cinematography by Santiago Sanchez, creates this perfect divide which is simply roads away between the slum-dwelling lower-class, and the youthful, nightclub enjoying middle-class patrons. However, this film does harbour one large indiscriminate flaw which casts a dark shadow over the whole film in general; the lack of depth and development in the script. It deals suitably with relaying the corruption, and the class divide within developing Mexican cities, but when the script comes to the family itself, it fails to ignite any truly engaging aspect of the story. We know little of the family's history, nor if it has any ambitions for future, aside from surviving. While certain characters could do with substantial improvements to their characterisations, such as probing the sub-plots involving Alfredo's sexuality, and Julian's uncontrollable teenage rage, or fundamentally providing any information beyond the very little we know about the 'ritual' being committed daily (?) by the family. 'We Are What We Are' is an adequate family-drama, with a hint of horror, and an underlying sub-plot of socio-political change within such a developing country. It may not be the best foreign film of the year, but one which certainly deserves a viewing.