After wandering a ruined city for years in search of food and shelter, two siblings find their way into one of the last remaining buildings. Inside, they find a man who will make them a dangerous offer to survive the outside world.
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Like an action painting from the 1940s or an improvised art happening from the 1960s. The act itself, and not the end result of the act, is where the only 'meaning' is to be found. The final sequence drives this idea home.
Una possibile origine scatenante al caleidoscopico sottomondo messo vistosamente in scena dal giovane Rocha Minter. Ovvero, l'infernale universo di Josè Mojica Marins (Zè do Caixao) trasportato nel cinema contemporaneo... http://visionesospesa.blogspot.it/2017/06/tracce-35-tenemos-la-carne-we-are-flesh.html
I am very divided about the film: I'm torn between feelings of disgust towards a sense of pretentious arty bollocks, and some genuinely enjoyable visual sequences. The film should have decided to be a straightforward porn, which would have worked, because only in the sex scenes does the visual panache comes in.
"Tenemos la Carne" seems to be aiming as a critique of something. Social structures? Morals? Religion?There is an uneven mix of ideas lingering around. But that final twist shot "works" only as a cheat: it destroys the basis of its premise, its alleged symbols and metaphors, treating them basically as mere superficial provocations. A mess.
"We began in a fairytale and we came to life! But is this life reality? No. It is a film. Zoom back camera. We are images, dreams, photographs. We must not stay here! Prisoners! We shall break the illusion. This is Maya. Goodbye to the holy mountain. Real life awaits us."
Inquieta sin dalle prime battute grazie anche ad un Noè Hernandez mattatore assoluto della scena ma poi con lo scorrere dei minuti diventa sempre più criptico e autocompiaciuto. Si arriva al termine che oltre alla bellezza della messa in scena , resta poco altro