Clevercell Very disappointing...

Steineded How sad is this?

Noutions Good movie, but best of all time? Hardly . . .

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Coventry I'm not entirely sure why several people recommended this film to me… I guess that everyone still assumes that an art-house horror flick is automatically a must see in case it a) got made in a Spanish speaking country – preferably Mexico, b) played at the prestigious Cannes Film Festival and c) quickly received an American remake. Well, newsflash, "We Are What We Are" most certainly isn't a must-see. Quite the contrary, in fact, this is an incredibly dull film with loathsome characters, implausible and outdated plot elements and severe pacing issues. This irritating hybrid between uninspired cannibal flick and pretentious coming-of-age story starts out fairly promising, with the rather disturbing death of a seemingly sick and perverted man in front of a shopping mall. He turns out to be the patriarch of a cannibalistic family and the sole provider of human bodies on their diner table. It's now up to the oldest son Alfredo to go out hunting, and together with his psychopathic younger brother Julian he brings home a prostitute, much against the will of their mentally unstable mother. After this incident all family members go hunting for their own victims, but they are closely followed by a determined police detective. "We Are What We Are" is unimaginably slow-paced and boring, but most of all terribly pretentious. For example, the screenplay never talks about cannibalism but about "performing the ritual". You can tell that some of the plot evolutions were intended to be shocking and controversial, but they actually aren't taboos anymore since a very long time, like gay adolescents or vigilante prostitutes. The filming style is exaggeratedly melodramatic, with colorless set-pieces and a deeply unpleasant ambiance. I assume that the young and overly ambitious writer/director Jorge Michel Grau also deliberately stuffed his film with social criticism about the poverty and hopelessness in certain big Mexican cities, but first he should try to pen down better scripts before getting politically engaged...

moviexclusive Depending on how you like your horror films, Mexican writer/ director Jorge Michel Grau's filmmaking debut might either be an atmospheric genre flick or a frustratingly slow exercise in pointlessness - and we'll be upfront by saying that it was pretty much the latter for us. The tale of a family of cannibals struggling to survive after the sudden death of its patriarch, Grau's macabre tale set in Mexico City tries to be allegory on the desperation and subsequent perversity of the lower class, but that metaphor is somewhat lost in a thinly written and deliberately paced story that is likely to test the patience of many viewers.Indeed, too little happens too slowly and too seriously in the not- quite-brief-enough 89 minutes that Grau tries but ultimately fails in holding his audience's attention. What starts out somewhat riveting with a disoriented middle-aged man collapsing dead on the sidewalk turns into a ponderous family drama with a dysfunctional mother Patricia (Carmen Beato) and her three children - Alfredo (Francisco Barreiro), Julián (Alan Chávez), and Sabina (Paulina Gaitan). Now that there is no one to bring home the meat, Patricia and her sons are faced with the task of finding a human sacrifice to complete what is simply known as "The Ritual", essentially meant to identify someone among them who can take over Dad's place as head of the household.Grau's storytelling unfolds in telenovela-fashion, as brother fights with brother, sister sides with one of the brothers, and mother starts by having a nervous breakdown and then returns to reassert her authority in the family. It almost seems like yet another family, if not for the fact that their arguments revolve around whether the sacrifice should be a homeless child, a prostitute or a gay - in particular, Julián's violent and impulsive kidnapping of a street hooker stirs up a torrent of anger from his mother, given how their father was previously given to "whoring". Moody and disquieting it may be, one cannot quite shake off the feeling that it is no more than a glorified family soap, with cannibalism thrown in to disguise the laboured melodrama of sibling rivalry, maternal rejection, repressed homosexuality and incestuous desire.Those looking for the film to live up to its R21 rating for gore will have to wait till the last third, since Grau largely keeps the violence before that off-camera, leaving the bloodbath for an extended climax where a chain of events leads the police and a group of vengeful prostitutes (who are friends of the lady Julián kidnapped and killed) at their doorstep. Even so, the staging of that climactic confrontation is as muted as the rest of the movie, the gore no more than splatter that looks like it could have been left over from some 80s exploitation flick. Consider this fair warning to those looking for some sort of payoff at the end - if you're looking for a thrilling finish, you're going to be massively disappointed.And so, despite what its tantalising premise might suggest, this is firmly an art-house drama that trades in quiet long takes for a large part of its duration. The fact that the family crisis we see unfolds in a cannibalistic tribe does make it slightly more engrossing than if it were just an ordinary family, but there's no mistaking that this is still the stuff of melodramatic soap opera - and by that, we also mean not enough here is sufficiently compelling to live up to its aim of being political allegory. But like we said at the start, perhaps most significant is the undeniable feeling that this family drama of cannibals is simply pointless - after all, why bother with this aberration if they are ultimately no different from any ordinary family in their dysfunction?

tombrookes2007 Billed as a 'cannibal gore-fest' (on the DVD cover) this definitely is not. It so isn't, but what it is, is a clever drama about cannibals, with very little cannibalism. It is very much like, and maybe fueled by films like 'Let Me In'. The film is about a man, who is a father and husband that dies from flash poisoning. He leaves behind a family of four, who will now have to hunt for their own flesh as he was the provider. The family is led by an erratic mother, intent on keeping the 'ritual' alive and keeping her family hidden. This however remains difficult as the sons try to step up and do the hunting (of prostitutes) and mess up, alerting local detectives and prostitutes. The ending is good and some elements make this film a creditable experience, with some unique flavour (not blood) and I am left admiring it for what it is.

Simonster Viewed at the Cannes Festival de Film 2010I've rated this film higher than most IMDb posters because, for me, it's a family drama at heart and much less a horror film. Going into We Are What We Are with that in mind will, I think, give you a better viewing experience.This is a tight knit family bound by the usual familial ties and one not so usual one: they are cannibals. When the father dies the dynamics are turned on their head. Least of which is that the survivors have to learn how to hunt or die!There is violence and blood, of course, and also some wonderful black humour, but all this places WAWWA only in the realm of horrible, as in horrible things going on, but nor does the film dwell on this. Instead, we get the focus on changing familial dynamics, as the two brothers, sister and mother strive to keep the unit intact and also adapt to the changed circumstances that also force them into new roles: in the past, the father was the hunter- provider.Taken as a story of sudden trauma and the effect it can have on those closest, WAWWA is a close up and personal study. Yes, the characters are cold blooded killers and monsters, but as the title says, they are what they are and so do what they do. It's not personal, it's not gratuitous, merely necessary.Some posters have criticised the film's technical merits. I'd argue the hand-held camera and grungy look is perfect. These aren't Hollywood actors and if you see WAWWA then you can imagine just what the Hollywood version would be like, and how it would throw out all the weight of the original to focus on the blood and guts.A South American Let The Right One In? Si.