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We Are What We Areis a 2013 revulsion flick directed by Jim Mickle that follows the Parker family and puts a modern twist on the cannibal hero sandwich - music genre of horror that show how these movies have evolved . A reclusive and old - fashioned religious family , the Parkers find their way of life of biography threaten when the kinsfolk matriarch passes out and a storm washes evidence of their dark heritage downstream .
Starring Bill Sage ( American Psycho ) , Julia Garner ( Ozark ) , and Ambyr Childers ( Aquarius),We Are What We Areis a mod and interesting take on the traditional cannibal motion picture , feature a unique twist that work the sub - musical genre into the twenty-first century . Balancing a gloomy atmosphere with strong acting and just enough gore , the motion picture is an interesting and effective commentary on the depredation ofextreme religious observance .
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WhileItalian cannibal filmsof the seventy and 80s typically concentre on archaic tribes deep in the hobo camp , and cannibal films of the 90s and 00s tended more towards rural bushwhacker , We Are What We Areand other twenty-first - century cannibal movie are confront a bracing look at the sub - literary genre with New themes and innovational story premises .
We Are What We Are & Modernizing Cannibalism
Cannibal repugnance films , a sub - musical style of victimisation films , acquire popularity in the 1970s and 80s and ordinarily picture cannibalism by primitive native tribes deep within Asian or South American rainforest . Many of these wereItalian revulsion moviesand rivet on graphic violence . In accession to the chief topic matter of cannibalism , many of these film also contain brutal rape , mutilation , and creature violence so as to ramp up the jar economic value .
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The most notorious example of this sub - genre isCannibal Holocaust , made by Ruggero Deodato in 1980 ; so brutal that Deodato was indicted for murder in Italy because authorities believe he had really drink down actors on film . When the victimization cannibal film trend died down in the 80 , audiences would next be inaugurate to cannibals in the form of rural hillbillies in 2003 withWrong Turnand the remaking of Wes Craven’sThe Hills Have Eyesin 2006 , a newfangled waving of the trend first started by American film producer in the 70s .
At the same fourth dimension , a new music genre of cannibal films was emerge — a more cerebral , atmospheric horror than the traditional victimisation movie that build itself on Alfred Hitchcock’sPsychoin 1960.TheSilence of the Lambsintroduced the magnetic and darkly fascinating killer , Hannibal Lecter in 1991 , and though it would be a sluggish tan , the film would trigger off a trend that would come to fruition later on in the 2010s .
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We Are What We Arewas released in 2013 and became the first of several moving picture in the 21st 100 that would take on cannibalism in a fresh way , using it to describe more nuanced themes and plots than savagery in “ the other ” . Using it as an apologue for vivid religious devotion , this film would bring the cannibal movie into a whole novel kingdom . The same year , theHannibalTV series would be release , contract a refreshing facial expression at Hannibal Lecter , the infamous high - society anthropophagite . And then the 2010s would see a whole new resurgence of cannibal movies , but much dissimilar than those audiences had visualise before .
Another movie of note in this movement is the French revulsion dramatic event , Raw , released in 2016 by Julia Ducournau . It apply cannibalism as a metaphor for pubescence and sexuality , specifically from a feminine gunpoint of view , in a grim and beautiful film that truly shows the cannibal story in a whole new light . We Are What We Arecould pave the way for a brand new stripe of cannibal repugnance films , offering an even more chilling look at hoi polloi run through citizenry .
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