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We Are What We Are (2010)

Posted By: Someonelse
Date: 27 Apr 2011 09:40:52
We Are What We Are (2010)

We Are What We Are (2010)
720p BluRay Rip | MKV | 1280 x 536 | x264 @ 5516 Kbps | 01:28:59 | 4,50 Gb
Audio: Spanish DTS @ 1509 Kbps | Subs: English (hard)
Genre: Horror, Drama | Mexico

When the patriarch of the family passes away, the teenage children must take responsibility for the family chores: the preparation of the rituals, the hunting and putting the all-important meat on the table. These newfound responsibilities are even more daunting, however, when you live in the city and happen to be a family of cannibals.

IMDB

Three teenagers are wary about holding up a rather disturbing family tradition in this unusual blend of horror, suspense and family drama. Alfredo (Francisco Barreiro), Julian (Alan Chavez) and Sabina (Paulina Gaitan) live with their father (Humberto Yanez) and mother (Carmen Beato) in a run-down section of Mexico City. When father dies unexpectedly during a visit to a shopping mall, it throws the family into chaos, but not just for the usual reasons. The family has an unusual custom in which father would capture a stranger and bring them home, after which the family would kill the stranger in an elaborate ritual and then eat their flesh. With father gone, mother insists that it's time the children stepped up and took over the rite, but Alfredo is too timid to find a proper victim, Julian is bold but too clumsy, and Sabina is thought to be poorly suited for what's always been a man's job. As the brothers try to learn to do things the way dad once did, a police detective (Jorge Zarate) is trying to get to the bottom of a long string of disappearances in the area. The first feature film from writer and director Jorge Michel Grau, Somos Lo Que Hay (aka We Are What We Are) was also one of the final films for Alan Chavez, who played Julian; he died in September 2009 at the age of 18 when an argument with friends led to gunfire.

We Are What We Are (2010)

Writer-director Jorge Grau's debut feature opens on a middle-aged man shambling around a shopping mall. It's an image immediately evocative of the zombies in Dawn of the Dead and its ilk — yet this isn't a zombie movie at all.

Grau's sly bit of homage-cum-misdirection transforms into a succinct, elegant statement of purpose: When the man collapses and dies, mall security quickly moves in to clear the body, while a cleanup crew efficiently mops the floor to remove any trace of his presence. The message, hammered home throughout the film with the same dark sense of humor: Appearance is all that matters to authority. In just a few minutes, Grau announces his intentions to marry gore with greater purpose, to follow in Romero's bloody footsteps.

Only here it's cannibals, rather than zombies, who leave the tracks.

We Are What We Are (2010)

The dead man was the patriarch of a family living in the projects of Mexico City, a clan that had pieced together a meager existence on the income he derived from repairing timepieces in an open-air marketplace. Fixing cheap watches in a Mexican slum never fed five mouths, though, so Dad was in the habit of bringing home more than the bacon. The family has always been fully aware of the macabre menu — aware, and more: For them, killing people has become a quasi-mystical family ritual that not only feeds them but ensures their good fortune. They are, as the title suggests, born into this. To fight it is to deny their identity and their future.

We Are What We Are (2010)

As her mother descends into angry grief, Sabina and her brothers must face the consequences of their family's cannibalism.
Now, in the absence of the father, mother Patricia (Carmen Beato) skips directly to the anger stage of grief, belittling both her dead husband and her children for their failings. That leaves the kids to determine who should take the father's place as hunter. Meanwhile, an autopsy turns up evidence that sets in motion an investigation by a police force crippled by ineptitude and greed. (Here, Grau gets a little heavy-handed in his critiques of authority: For all the subtle suggestiveness that he brings to the family dynamics, the cops here are one pratfall short of the Keystonian.)

We Are What We Are (2010)

We Are Who We Are would make an excellent — if emotionally draining — double feature with last year's Dogtooth, the Greek film currently up for a Best Foreign Film Academy Award. Both feature trios of young adult children driven to the brink of insanity by years of lies from manipulative parents. Both start quietly, offer oblique expositions about the nature of their families' horrific secrets, then devolve into violence presented with clinical detachment and absurd, deadpan humor. The difference here is that the parents (Mom, at least), believe their own misinformation. And here, the survival of the illusion is dependent not on isolation, but rather on getting out in the world to seduce and lure their human prey.

Grau's thoroughly original vision is disguised by its conventional genre trappings. On the surface, the relentlessly grimy look of the film — and the truly grisly sights and sounds — might suggest a trashfest from the Saw or Hostel franchises.

We Are What We Are (2010)

But Grau is far more skilled than that. His use of sound in particular is impeccable. Dozens of ticking clocks amp tension in one scene; in another, the clomping of a high-heeled gang of prostitutes creates a comical stampede of vengeance. A discordant string score from Enrico Chapela practically creates its own unseen character.

Like zombie auteur George Romero at his best, Grau locks his sights on his social commentary of choice and goes after it with the zeal of a 19-year-old cannibal girl sinking an ax into the skull of her next meal.

The result is messy, but it makes more than a meal.
Ian Buckwalter, NPR
We Are What We Are (2010)

We Are What We Are (2010)

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