{"id":114790,"date":"2016-12-31T16:26:04","date_gmt":"2016-12-31T20:26:04","guid":{"rendered":"http:\/\/www.yellmagazine.com\/?p=114790"},"modified":"2016-12-31T16:26:04","modified_gmt":"2016-12-31T20:26:04","slug":"we-are-the-flesh-2016-movie-review","status":"publish","type":"post","link":"https:\/\/www.yellmagazine.com\/2016\/12\/31\/we-are-the-flesh-2016-movie-review\/","title":{"rendered":"We Are The Flesh (2016) Movie Review"},"content":{"rendered":"
One man can never have enough moving tape in a post-apocalyptic world. At least that might be the philosophy of Mariano (No\u00e9 Hern\u00e1ndez), who plays the patriarch of sorts between our three central characters, which is rounded out by Mar\u00eda Evoli and Diego Gamaliel playing unnamed brother and sister.<\/p>\n
Granted, the aforementioned tape isn\u2019t all that significant on the whole, but it is literally used to build a fortress cave that serves to shut out the external world and to figuratively bond Mariano Maria. That bond is then used to cause Maria and her brother to engage in unspeakable relations.<\/p>\n
The crux of Emiliano Rocha Minter\u2019s (writer, director<\/a><\/span>) We Are the Flesh <\/em><\/a>rests on the central idea put forth by Mariano, of which he basically says that he has learned to embrace solitude as a mistress and once that is done it\u2019s easier to welcome forbidden fantasies, such as fornicating with one\u2019s mother. Then, at that point, nothing else really matters.<\/p>\n