We Are the Flesh (2016) - Emiliano Rocha Minter

Emiliano Rocha Minter's We Are The Flesh is a hypnotic dissent into madness, a film which gleefully pushes and prods the viewer's limitations when it comes to horror, mainly from a psychological perspective, offering up an experience that is hard not to admire, even if the film's overall message remains unclear.  The film is set in what appears to be some type of post-apocalyptic world, which finds a groveling, middle-aged man sifting through the rubble of a derelict building, solitary in his dedication to survival, astute in his actions, which remain mysteriously unclear.  In search of food and shelter, two siblings encounter this enigmatic, perhaps necromantic man, who provides them with what they seek, but as time passes it becomes clear that malevolent forces are at play, with the diabolical and subversive actions of the middle aged man slowly consuming both siblings, leaving them with no conventional moral boundaries, only adhering to the primal, carnal instincts of violence and lust.  A subversive, psychological horror experience which places far more weight on atmosphere and mood than cohesive ideas, Emiliano Rocha Minter's We Are The Flesh is an artistically told descent into madness, a film which features some brilliant use of both audio and video techniques, which together create an atmosphere of diabolical mystery and a brooding sense of unease.  The middle-aged man's intentions are mysterious from the onset, but the film makes it rather clear early on that his intentions are rooted in some type of diabolical nature, being a character himself appears to come from a very primal nature of humanity, one where social stigmas are non-existent and desire itself reigns supreme.  There appears to be some supernatural, malevolent force at play, which the man dedicates his life too, as if his god is rooted in carnal desires and dedicated to the destruction of all social inhibitions and interdictions.  As these two siblings descend themselves into this primal state of being, We Are The Flesh has its moments of exploitation, pushing the envelope at times when it comes to both sexual deviance and violence, yet the film maintains a genuine artistry throughout its running time, one which encapsulates the horror, subversion, and brooding sense of unknown which gives the film a palpable sense of mood from start to finish.  While We Are the Flesh's beguiling nature is sure to frustrate some viewers, the film's vague thematics are both a blessing and a curse, as the film's intentions could be interpreted via various socio-political commentaries.  We Are The Flesh seems to have something to say about order and control, with its most palpable commentary being about social norms and the primal nature which exists.  The film seems to suggest that we are all just animals, victims eventually to our primal desires for blood and lust yet it never fully and cohesively makes such a statement, though judging by the finale one could also argue it's a commentary on the need for secularism as well.  The way the two siblings adhere to the middle-aged man and what he preaches feels rooted somewhat in the way many adhere to religious decree, with others joining the siblings in their descent into a primal nature, which inevitably feels very much like a cult.  The finale pulls the rug out from the under the viewer in a sense too, with a member of this 'cult' walking out of this secluded, desolate building and into the busy streets of a major metropolitan area, almost as if the filmmakers' wish to present a commentary on the restrictive nature such decrees have over the individual.  Both the siblings and others adhered to the middle-aged man's primal and carnal decree for much of the film, but by the end we the viewer learn that everything we thought is a lie - the post-apocalyptic setting is reveals as nothing more but a derelict building in the middle of a metropolitan area, with the filmmakers suggesting that these character's blind faith in the subversive beliefs of this man led them down a path full of violence and immorality.   This of course is merely one attempt by yours truly to make some sense out of a rather enigmatic, beguiling slice of atmospheric horror, which of course is what makes Emiliano Rocha Minter's We Are the Flesh so alluring, the various interpretations it allows.  

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