Tenemos La Carne (We Are the Flesh)

Shattering all taboos in post-apocalyptic Mexico City

Though they operate on different wavelengths, Emiliano Rocha Minter’s extremely graphic Tenemos La Carne (We Are the Flesh) suggests that Isaac Ezban isn’t the only notable horror director emerging from Mexico. In a post-apocalyptic Mexico City, teenage siblings Fauna (Maria Evoli) and Lucio (Diego Gamaliel) are taken in by certifiably bugfuck Mariano (Noé Hernández), who views the collapse of society as a call for humans to embrace their carnal natures and shatter every taboo — starting with the most obvious one, against intercourse between brother and sister. It only escalates from there. What it lacks in scope and budget, the intentionally claustrophobic Tenemos La Carne makes up for with a wonderfully spooky sound design, and the best use of a tympani since 1963’s Blood Feast. But for all the torture, incest, cannibalism, and bloodsoaked, no-holds-barred depravity on display, the most genuinely offensive part of Tenemos La Carne may be the final minute and a half. It’s clear that Minter wants to pull the rug out from under the audience and make them question everything they’ve seen, but the central image is just lazy, the cheapest kind of shock. It’s too cheap even for a film that includes a POV shot of a boy looking down at his sister fellating him, and that’s saying a lot.

Tenemos La Carne (We Are the Flesh)
Not rated. Opens Friday at the Roxie Theater.

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