Cannibalism is a topic that, Hannibal Lecter aside, has mostly been confined to horror films and so-called video nasties. Mexican director Jorge Michel Grau approaches the subject from a different angle for his debut feature giving it a more art house treatment for We Are What We Are (Somos lo que hay in its native language) released on Blu-ray and DVD this week. Three teenagers Alfredo (Francisco Barreiro), Julian (Alan Chavez) and Sabina (Paulina Gaitan) live with their father (Humberto Yanez) and mother (Carmen Beato) in a run-down section of Mexico City. When their father dies unexpectedly during a visit to a shopping mall, it throws the family into chaos, but not just for the usual reasons. The family has an unusual custom in which their father would capture a stranger and bring them home, after which the family would kill the victim in an elaborate ritual and then eat the flesh. With their father gone, their mother insists that it's time the teenagers step up and take over the rite, but Alfredo is too timid to find a proper victim, Julian is bold but too clumsy, and Sabina is thought to be poorly suited for what's always been a man's job. As the brothers try to learn to do things the way dad once did, a police detective (Jorge Zarate) is trying to get to the bottom of a long string of disappearances in the area. Graus debut feature is an assured and unflinching portrayal of the very definition of a dysfunctional family. So lost in their own world they believe what they are doing is normal and their only option for survival. The film is presented in such an understated realistic manner that the fact that the family are cannibals is never really questioned. It certainly paints a dark picture and a sordid view of life in the slums of Mexico City. The three teenagers of the family who take on the responsibility of the family ritual all deserve special mention. Each deals with the family dilemma in a different way, younger brother Julian sees violence as the only solution and holds no qualms about trying to abduct a street child or beating up a prostitute. Alfredo is more sensitive and reluctant to follow in the family tradition all the while he is battling his own internal conflict with his sexuality. Sabina takes a more hard nosed view of their situation, if the boys dont provide the family will die. Each of the young actors totally inhabits their roles eschewing melodrama and adding a rare degree of subtlety. All this is made even more poignant by the fact that actor Alan Chavez who plays Julian was shot and killed by Mexican police shortly after the completion of the film. Much of the film takes place in the familys home, a ramshackle building full of ticking clocks, jars, boxes and dark corners. The clocks acting as a reminder of their fathers profession repairing watches and clocks on a local market as well as emphasising that time may be running out for the family if they dont feed soon. Adding to the atmosphere, the film is bathed in a cold green colour palette which offers a stark contrast when the blood flows and the violence begins. The violence when it comes is bold and unwavering; the mother dispatches a prostitute with a shovel to the head without hesitation. In another scene, both mother and daughter carve up their latest victim selecting only the finest parts for their consumption. The room in the house where this takes place is actually reminiscent of The Texas Chain Saw Massacre, all blood soaked tarpaulin and surgical implements. However, this level of brutality is only a very small part of the film and the average Saw fan will find little to satisfy their bloodlust. Overall, Grau has created a highly impressive debut with We Are What We Are. Its a socio-realist study of the struggle to survive in Mexico City where the class system becomes food chain for an increasingly desperate family. Held together by superb performances and a rare subtle, naturalistic approach to the subject, the film lingers in the mind long after the closing credits.
Quality
The film is presented in its original aspect ratio of 2.35:1 and in its original language with burnt in English subtitles. The picture quality is very good, even in the many dark scenes throughout the film no detail is lost. There is some grain to the image but this seems to be intentional while the dominant green hues are carefully framed and beautifully rendered. Sound quality is also very good with ambient sounds brought to the forefront of the 5.1 Dolby Digital presentation from the ticking clocks in the house to general chaotic audio of the Mexican cityscapes. Subtitles are clearly presented in white along the lower part of the screen and are a little quick in places but generally easy to follow.
Extras
The only extra is a trailer, which is the usual misleading action filled, flash bang promo that makes promises that defy the carefully paced film itself. It can only do more harm than good drawing in the wrong crowd most of which will be annoyed that the film is subtitled, let alone the lack of torture porn. It would have been nice to hear an audio commentary from Grau or even an interview, as he is credited as the writer as well as the director I would like to know what inspired him as it is such a unique take on the subject. We Are What We Are is released on Blu-ray from tomorrow.