We Are What We Are (2010 film)
Introduction
“We Are What We Are” (Spanish: “Somos lo que hay”) is a 2010 Mexican horror film directed by Jorge Michel Grau. This unsettling work is a stand-alone sequel to Guillermo del Toro’s “Cronos” (1993), continuing the exploration of themes surrounding family, survival, and the grotesque through the lens of horror. The film tells the story of a family grappling with the death of their patriarch while attempting to uphold a disturbing, ritualistic tradition that involves cannibalism. The movie features performances by Paulina Gaitán and Daniel Giménez Cacho, who reprises his role from “Cronos.” With its blend of visceral horror and social commentary, “We Are What We Are” presents a unique perspective on familial bonds and societal decay.
Plot Overview
The film opens with a sudden and tragic event at a shopping mall where a man collapses and dies on the sidewalk. This man is revealed to be the father of a family that relies on him as their sole provider through his work as a watchmaker in a street market. His absence sends shockwaves through the family, particularly among his three children—Alfredo, Julián, and Sabina—as they grapple with their uncertain future. Their father’s death not only signifies the loss of income but also threatens to disrupt their disturbing family tradition.
As Alfredo and Julián venture to the market in search of their father, they encounter hostility from vendors due to their family’s debts. Upon returning home, they are met with the shocking news from Sabina that their father has died. Their mother, Patricia, locks herself away, leaving her children to ponder how they will sustain themselves without their father. It soon becomes clear that this family engages in cannibalistic rituals, raising the stakes of their survival in an already grim reality.
Investigation and Rising Tensions
In parallel with the family’s dark narrative, two police detectives—Octavio and Owen—are introduced as they investigate the circumstances surrounding the father’s death. During an autopsy, the coroner reveals a gruesome detail: a finger found in the father’s stomach. This revelation prompts the detectives to delve deeper into what appears to be a cold case, igniting a sense of ambition in them as they see potential fame in solving it.
Desperate to procure food for their ritualistic meals, Alfredo and Julián embark on increasingly violent efforts to capture victims. Their initial attempt involves kidnapping a homeless child but ends in failure when other children intervene. A subsequent attempt leads them to abduct a prostitute, who meets a brutal fate at Patricia’s hands when she intervenes during preparations for their meal. This act further complicates familial dynamics as Alfredo grapples with his role in these horrific events.
Climactic Confrontations
The tension escalates as Alfredo pursues another target—a young man he meets at a gay bar—while Patricia lures a cab driver back to their home for ulterior motives. These intertwining narratives push towards a climax filled with violence and chaos as family members conflict over their choices about whom to prey upon for sustenance.
In a series of harrowing events, Alfredo’s intentions lead to disastrous confrontations, including an altercation with police officers investigating their activities. The unraveling of this family unit reaches its peak when Alfredo bites Sabina during an emotional moment of desperation. Misunderstandings culminate in violence as Julián mistakenly shoots Alfredo during an attempt to protect Sabina. The chaotic struggle results in police involvement leading to further tragedy within the family.
Thematic Elements
“We Are What We Are” delves into profound themes such as survival and societal disintegration while examining the complex dynamics within familial relationships. The film presents cannibalism not just as an act of physical sustenance but also as a metaphor for deeper psychological needs and societal commentary on violence and desperation.
The portrayal of characters often blurs moral lines; viewers are left grappling with feelings of sympathy and horror simultaneously. This complexity challenges audiences to reflect on what drives individuals to commit unspeakable acts under dire circumstances. Additionally, Grau’s direction emphasizes the chilling atmosphere of urban decay, enhancing the film’s unsettling tone.
Production Insights
<p"Directed by Jorge Michel Grau, "We Are What We Are" was shot entirely in Mexico City and premiered at the Guadalajara International Film Festival on March 15, 2010. Grau brings forth not only visceral horror but also layers of social critique throughout the narrative. Daniel Giménez Cacho’s return as Tito the Coroner from "Cronos" adds continuity between these two significant works in Mexican cinema.
The film’s production involved collaboration with various artists and crew members who contributed to its dark aesthetic and thematic depth. It was recognized at numerous film festivals for its unique storytelling approach and received accolades for its screenplay and overall impact within the horror genre.
Reception and Legacy
“We Are What We Are” garnered mixed reviews upon its release but was noted for its ambitious blend of horror with social commentary. Critics highlighted its dark tone and lack of humor as potential barriers for broader audience appeal. Deborah Young from Reuters remarked on the difficulty viewers may face in identifying with its characters but acknowledged its artistic merit.
On Rotten Tomatoes, it holds a 72% rating based on critical reviews that recognize it as elevated horror that merges family drama with gore-infused storytelling. It has since established itself as an important piece within contemporary Mexican cinema, influencing discussions around horror films that tackle complex societal themes.
Conclusion
“We Are What We Are” stands out not only for its chilling narrative about survival through cannibalism but also for its exploration of familial bonds amidst societal decay. Through Jorge Michel Grau’s direction and strong performances from its cast, particularly Paulina Gaitán and Daniel Giménez Cacho, it invites audiences into an unsettling world where desperation drives individuals toward horrific acts.
This film marks an important contribution to both Mexican cinema and international horror genres, inviting reflection on deeper issues while providing visceral thrills that resonate long after viewing. As audiences continue to explore narratives that challenge moral boundaries within horror films, “We Are What We Are” remains a compelling example of how genre can intersect with social commentary.
Artykuł sporządzony na podstawie: Wikipedia (EN).