Pass

In the view of Indiewire‘s David Ehrlich, Emiliano Rocha Minter’s We Are The Flesh (Arrow, 1.13 in LA, 1.209 in NY) is some kind of ultra-grotesque ode to cruelty and perversion in the vein of Pier Paolo Pasolini‘s Salo: The 120 Days of Sodom. He describes Amat Escalante‘s Heli, which I described three and a half years ago as a fairly gruesome experience (“a starkly drawn, no-frills, deeply ugly Mexican art film about the ravaging of Mexican society by drug traffickers and how poor people always take it in the neck”), as a relatively palatable thing compared to We Are The Flesh. Minter, says Ehrlich, “takes the defining tropes of his country’s contemporary filmmaking, liberates them from the burden of narrative logic, and stretches them across the screen like Hannibal Lecter hanging a victim by the flaps of his skin.” No thanks.

  • As a person of a certain age (i.e., born during the Eisenhower administration), I have to ask seriously: do people actually enjoy this kind of thing — and, if so, why?

  • Zerowing

    It’s about damn time! We’ve had “liberation from the burden of narrative logic” in Hollywood blockbusters for years. Glad to see it has filtered down to Mexican “art horror” or whatever they’ll claim this thing is.

    Over the years I’ve discovered a strong correlation between “People Who Like This Kind of Movie” and “People I Don’t Like”.

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