75
The film establishes a hypnotic rhythm through razor-stropped editing and a reverberant sound design that later scenes will disrupt with alarming impunity.
What are people saying?
What are critics saying?
70
Serving as co-editor as well as writer and director, Emiliano Rocha Minter is very much the author of all the chaos wrought here, and his thoroughly arresting vision could squat quite comfortably alongside Hieronymus Bosch’s depiction of hell.
50
For every moment of sick visceral genius (e.g. whenever Hernandez or Evoli are left to their own devices), there’s another of clumsy metaphor (e.g. the limp punchline of the movie’s final minutes).
50
The New York Times by Glenn Kenny
We Are the Flesh, its abundance of repellent imagery notwithstanding, has an air of the academic about it.
80
Think Luis Buñuel spliced with Hieronymus Bosch.
70
The Hollywood Reporter by John DeFore
Viewers expecting a garden-variety horror flick will likely recoil, but those seeking new voices in Mexican cinema may well hail Minter's effort.
60
Challenging, daring, provocative, disgusting - We are the Flesh is all those things and then some, but also superbly crafted and always visually compelling.
70
We Got This Covered by Matt Donato
This is dirty, abusive, sticky, heartfelt (?), enlightened (??), intellectual (???), deranged, offensive, damningly provocative filmmaking at its…most…unhinged?
60
Los Angeles Times by Noel Murray
Until the thought-provoking, from-left-field twist ending, We Are the Flesh mostly seems like a series of sick tableaux, dredged up from the director’s subconscious and then splattered across the screen. But there’s genuine artistry even to this film’s most exploitative moments.
70
Filmgoers who brave We Are the Flesh may regret seeing it. Forgetting it is another matter entirely.