*** If you are easily offended, you probably shouldn’t read this review.
“We Are The Flesh” is a Mexican fantasy/horror movie written and directed by Emiliano Rocha Minter. The film takes place in a post-apocalyptic city where Mariano (Noé Hernández) has been holed up in an abandoned building by himself for quite some time. When brother and sister Lucio (Diego Gamaliel) and Fauna (María Evoli) stumble upon the building, they find a whole new world of depravity.
Mariano welcomes the siblings and gives them food and shelter in trade for their hard work and companionship. He sets out to turn one of the rooms into a cocoon-like structure of wood and tape. Mariano’s ramblings are sometimes poetic, and at other times nonsensical. We find out Mariano has a strange fixation with life, death, sex, and the flesh. He has been in solitude so long he’s lost his mind while feeding off the flesh and blood of people who enter his refuge. When the structure is complete, Mariano uses it as a makeshift womb to entertain his wildest fantasies, including getting Lucio and Fauna to engage in incestual sex. As Mariano watches the siblings make love, he pleasures himself until he has a heart attack and dies mid orgasm. Fauna, who was more apt to Mariano’s way of thinking, takes care of the body and fucks him back to life. Once this happens, the floodgates open with bloodlust, murder, and an orgy.
Though “We Are the Flesh” was a twisted film (it reminded me of Stanley Kubrick’s “A Clockwork Orange ” but on a far lower artistic scale), it was appealing. There were a few unanswered questions once the credits rolled, but if you can get past the shock value of graphic sex, there are some finer points in this movie like the cinematography, the dialogue, and the lessons imparted on the art of survival.