A visionary and bizarre slice of Mexican arthouse cinema, We Are The Flesh is an extraordinary and unsettling film experience, a sexually charged and nightmarish journey into an otherworldly dimension of carnal desire and excess, as well as a powerful allegory on the corrupting power of human desire.
A young brother and sister, roaming an apocalyptic city, take refuge in the dilapidated lair of a strange hermit. He puts them to work building a bizarre cavernous structure, where he acts out his insane and depraved fantasies. Trapped in this maddening womb-like world under his malign influence, they find themselves sinking into the realms of dark and forbidden behaviour.
Mixing the graphic, powerful imagery of Gaspar Noe’s Love and Enter The Void with the surreal, hallucinatory impact of Alejandro Jodorowsky, We Are The Flesh is a bizarre, psychedelic head trip, mixing intense, outrageously explicit imagery with a profound allegory on the nature of existence, to make this an unforge
Reviews
“A very personal, very powerful film that deeply impressed me. Emiliano Rocha is part of a new generation [of filmmakers] with a potent talent and voice.”
- Alejandro Gonzalez Iñarritu (The Revenant, Amores Perros)
“I loved this film. ‘Tenemos la Carne’ takes over our waking thoughts, like a recurring dream we try to forget, because we are fearful of finding out it may be a memory”
– Alfonso Cuaron (Gravity, Children of Men)
"An unforgettable descent into the mouth of madness."
-Flickering Myth
"destined to become a feared cult hit."
-The Upcoming
Contents
High Definition digital transfer
5.1 surround and 2.0 audio options
Optional English subtitles
A new video essay by critic Virginie Sélavy
New interviews with director Emiliano Rocha Minter and cast members Noé Hernández, María Evoli and Diego Gamaliel
Two short films by Emiliano Rocha Minter; Dentro and Videohome
Original theatrical trailer
Stills Gallery
Reversible sleeve featuring original and newly commissioned artwork
FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by critic Anton Bitel, and a note from the producer on the film.