We Are What We Are – Mexico, 2010 – reviews

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[Total: 2   Average: 3/5]

We Are What We Are – original title: Somos lo que hay – is a 2010 Mexican horror film directed by Jorge Michel Grau. It was remade as a 2013 American film of the same name. The movie stars Paulina Gaitán and Daniel Giménez Cacho.

When a middle-aged man dies in the street, his devastated family is left in crisis: for their patriarch has always provided the human flesh on which they feed. Now he is gone, they are left with a terrible dilemma who will lead their hunt for victims and how will they sate their terrible hunger?

Reviews [click links to read more]:

‘Like Let The Right One In (although in a rather different subgenre), We Are What We Are deploys some well-defined horror tropes to dramatise much broader humanistic concerns about survival, continuity and love – and, also like Tomas Alfredson’s film, it is a tale told in stately long shots, presenting its scenes of both domestic banality and bloody outrage in the same cold, indifferent light.’ Anton Bitel, Eye For Film

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‘Grau effectively mixes wry, bloody, deadpan gags, family drama, and stomach-churning violence. One moment, Barreiro, Gaitán, and Chávez try to sort out their new family dynamic; the next, they’re trying to deal with a shovel-battered corpse that may or may not be of high enough quality to eat. It’s just another day in one of the world’s dark places, one avoided by those who can afford to stay away, but drawing closer every day.’ Keith Phipps, A.V. Club

‘Fans of the genre may not quite know what to make of Mexico’s We Are What We Are (Somos lo que hay), but that isn’t necessarily a bad thing. It does mean that, for many audiences, this film simply won’t “work.”  However, for those who appreciate the artistry of filmmaking, as well as the performances and writing, it is quite brilliant.’  Scott A Johnson, Dread Central

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‘An unexpectedly rich exploration of family bonds, blood rituals and the oftentimes zombie-like desire to assume the roles proscribed to each of us, played out with a sharp undertow of political allegory and darkly comic sensibility.’ Mark Olsen, L.A. Times

‘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.’ Ian Buckwalter, NPR

 

  

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