Nothing was food, lighting, dialog thatight have to do with translation, but still...dont waste anymore effort, turn it off and go watch Centipede movie!!!

There is a select genre of film in the world that doesn't fall into one specific category. It can be science fiction, western, mystery, drama or more. It is a wide ranging genre that you won't find listed among categories on Netflix of Amazon Prime or Hulu. I call the genre "What the hell did I just watch?" This category often rambles from one scene to the next, sometimes never connecting those scenes or plunging us into what feels like a drug fueled exploration of themes with no sense of direction or even providing little to no story as it moves forward. Many times that isn't so much a question of no story so much as it is the writer/director putting his own vision on the screen even if the rest of us can't make head or tail of that vision. WE ARE THE FLESH falls into this genre.Let me start by trying to explain what we seem to be watching. A man is confined to his home in what must be a post-apocalyptic world. He mixes various items into a vat and extracts from that some form of drug that he both uses a stopperful at a time and trades for eggs with some unseen benefactor. Into his world arrive a brother and sister hungry and looking for a place to crash. With a maniacal glee and a look reminiscent of Charles Manson, he takes them in, feeds them and eventually breaks them down to the point they have sex with one another. More happens but I'll leave it at that for those inclined to take the journey being told here.But I should also let you know that the journey is strange and by the end leaves you wondering what it was you just watched. It makes you question what the point of the movie was or if there even was one. Maybe there isn't one. Or maybe this is an art film where only the director can interpret the film, translating what the images he placed on screen meant or represented. In other words it's more art film than your average movie. If you like that you'll enjoy this. If you like more straightforward fare then this is one you'll hate.There aren't many straight out disturbing images here as many films in this genre are prone to offer (consider the odd "baby" in David Lynch's ERASERHEAD) but it will offer something that people will talk about and discuss or be offended by. Short of watching a porn flick the film offers plenty of sexual situations and close ups of genitalia. It also offers what appears to be various forms of on film sex starting with oral sex. If you're easily offended that should be your clue not to seek this film out. If it doesn't offend you don't think that this film will stimulate you. It's sort of like porn on acid with bright colored lights shining on the action and shot in a weird world of curved walls and slanted flats.When all was said and done the ending twisted the entire story I'd just watched. Yes, it has a twist ending. It doesn't make the movie good or bad but makes it even stranger still. Once more, whether you view that as a good thing or a bad thing depends on how you view the movie. For me it's not something I will revisit and was more bad than good. It left me feeling nothing except wondering how funding for films like this seems to come easily for some while other projects I would find more interest in are left in the dust. But that's just my perspective. Some will come away loving this.As far as the disc being offered here once more Arrow Video outdoes themselves. Would anyone expect less? The quality of the print is sharp, crisp and clean. Love or hate the images they are there to see in perfect clarity. The extras are for fans of the film and the director offering two shorts by director Emiliano Rocha Minter (Dentro and Videohome), interviews with director Emiliano Rocha Minter and cast members Noé Hernández, María Evoli and Diego Gamaliel, a video essay by critic Virginie Sélavy, the trailer and a still gallery. The film is in Spanish but English subtitles are available.

Wish I could say it wasn't that bad, I like it, or rather parts of it.When I saw the poster at a local theater I was thinking this was going to be a Si-Fi horror film. Even the synopsis gave me this ideal, and it was horrifying but more in a human way rather than super natural.So two kids end up in a place were they meet a man whose out of his mind and the three have bizarre sexual encounters with one another.I did like the crazy dude in the film, he was disturbing in that horrific sort of way.Plus, I can't give a movie to low of a score considering it had so much awesome nudity and strong sexual content in it (Just being honesty).But what I was expecting from the small paragraph that help me get interested in seeing the movie was not what I ended up seeing. I felt the ad campaign was met to be a metaphor of something. We Are the Flesh is very similar to M. Night Shyamalan's the Village in that all it's not what it seems, but with far less story (Or no story at all cause I really have no idea what this movie is about or trying to say).When the movie starts and I realizes that it's a very small indi film in a foreign language I was expecting far more talking, but a lot of what I got was interpretive movement and in your face nudity (Which is where I think the actual name of the film was met to be about).So I'm into hard core sex in mainstream movies but whatever the filmmakers wanted me to feel by watching this experimental feature I did not feel (Unless they wanted me to feel horny).

Filmmaker Emiliano Rocha Minter has certainly cemented his name in the annals of art house horror and sexual fantasy cinema with his Spanish film 'We Are The Flesh'. Standing in the same room with films of Gaspar Noe ('Irreversible', 'Enter The Void'), John Waters ('Pink Flamingos'), and dare I even say Pier Paolo Pasolini ('Salo: 120 Days of Sodom'), 'We Are The Flesh' takes a very violent and sexual look into a surreal apocalyptic scenario in something that you've never really seen before. For all of its taboo subjects that it has no problems or apologies for showing on screen, sometimes which is up close and personal, Minter gives a very Kubrick-esque look at this bizarre story.It's fairly hard to find the plot here, as we focus on an older man (Noé Hernández) who would give the boogeyman the creeps. This man is obsessed with building something out of cardboard and tape, when two teenage siblings enter the dilapidated building he's residing in. He agrees to let them stay in turn for helping him build what looks like to be a cave to hell. Also, he has them act out explicits sexual acts on each other. There is no real idea as to what's happening outside this building, but it's alluded that there is a war or apocalypse of some sort and that this old man is providing his own version of a perverted salvation, which delves deeper into a sadistic abyss of torture, death, and sex.The teenagers are great here, but Noé Hernández is unbelievably scary and excellent on film. I've never seen anything like it before in a performance. People who are looking for something soft and kind or if they feel like they are seasoned gore hounds might even find this film a bit disturbing. However, Minter doesn't mess about with the super gory shots or quick cuts. Instead, he takes his camera into an unflinching and unescapable place where we the audience are forced to watch everything that happens on screen in a sort of filter-colored hypnotic nightmare that only gets worse as time goes on.'We Are The Flesh' is a slow burn film. It's one that pushes the bounds of taste and art, but in that good way in that you want to see more from this filmmaker. People in the independent film industry should take note of Emiliano Rocha Minter, because he has a beautiful eye for film and has something to say.RECOMMENDED!