We Are the Flesh ("Tenemos la carne")
Official Selection: International Film Festival Rotterdam 2016
“An extreme Mexican fiesta of incest, cannibalism and explicit sex... joyously demented” - Catherine Bray, VARIETY
A brother and sister escape humanity’s insanity in search of a better world, their wanderings unwittingly leading them into a dilapidated building inhabited by a modern-day ogre. Trapped in this hall of madness, the newcomers must submit to the rules of this Caligula-like being who claims to be immortal. Their very survival depends on their blind obedience to the master of the house. They must eat his food, wear his clothes and especially, enact his dangerously perverted fantasies. Far from prying eyes, this guru of the flesh pushes them to explore the dark side of our puritan society’s taboos. S&M, incest, cannibalism, nothing is off limits during his sessions, all mystic rituals with the same goal in mind: to reach transcendence through orgasm. Playing with dark magic, however, has disastrous consequences for the unlikely trio and it’s only a matter of time before their ultimate sacrifice takes on apocalyptic proportions.
An acidic response to Gaspar Noé’s LOVE, Mexican director Emiliano Rocha Minter’s WE ARE THE FLESH is a brutal experience driven by a destabilizing, chaotic energy. Much like LUDO, screened last year at Fantasia, this transgressive poem transforms the narrative into a wild and beautiful feast for the senses. Guiding you through this barbaric mass is the remarkable actor Noe Hernandez, delivering a larger-than-life performance as a thousand-year-old sorcerer consumed by a destructive rage. Worthy of Andrzej Zulawski, it is above all a no-exit tale whose incredible audacity is revealed through its blunt depiction of sexuality. This is the film that impressed Alejandro Gonzales Inarritu and Carlos Reygadas to the point of their labeling its director a genius. Having shocked the festival circuit all over the world, WE ARE THE FLESH takes its courageous viewers deep into the heart of darkness.
— Simon Laperrière