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We Are The Flesh

WE ARE THE FLESH appears to be the next art house visionary for the genre. One that plays with sex, violence and masochism that is only matched by that of the mind of Lars Von Trier. In some terms, it succeeds, in others it holds itself as one of the most perverse and disgusting pieces of cinema that the genre has to offer.

 

After wandering a ruined city for years in search of food and shelter, two siblings find their way into one of the last remaining buildings. Inside, they find a man who will make them a dangerous offer to survive the outside world.

 

The film opens with madness of the lost man and embroils down a rabbit hole of perverse darkness that can only be compared to SALO on steroids. WE ARE THE FLESH has such beauty to show but unfortunately, it’s like looking at a sewage plant through an Instagram filter. Beyond the spellbounding cinematography is a world of sickening violence and unapologetic pornography that the film feels as close to banned material as the BBFC will allow. In honesty, how this passed their rigid censors in this cut is anyone’s guess.

 

WE ARE THE FLESH is a nasty creature that doesn’t get any easier to watch. The bemusing openings and surrealism of the lost world create a halluciagenic feel to the unfolding events and the further the film develops the higher the angst and relationship of the trio grows.

 

This will not attract to the mainstream but unless you enter the murky world created by Emiliano Rocha Minter, it’s difficult to know what to expect and WE ARE THE FLESH will have a very limited audience from what it has to offer. Fortunately, the appreciation for this taboo of cinema is gaining a popular resurgence and with the works of Walerian Borowczyk recently rereleased to much acclaim, there certainly will be an audience for this.

Director: Emiliano Rocha Minter

Released: 13th February 2017

Running Time: 79 minutes

Age Rating: 18

 

Reviewer: Martyn Wakefield

RATING


Plot: 2
Fear: 3
Gore: 4


R3/5​

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