Los Parkers, una familia que sigue costumbres antiguas, se ve amenazada cuando una tormenta llega a su área, lo que obliga a sus hijas Iris y Rose a asumir responsabilidades más allá de las ... Leer todoLos Parkers, una familia que sigue costumbres antiguas, se ve amenazada cuando una tormenta llega a su área, lo que obliga a sus hijas Iris y Rose a asumir responsabilidades más allá de las de una familia típica.Los Parkers, una familia que sigue costumbres antiguas, se ve amenazada cuando una tormenta llega a su área, lo que obliga a sus hijas Iris y Rose a asumir responsabilidades más allá de las de una familia típica.
- Dirección
- Guionistas
- Elenco
- Premios
- 5 premios ganados y 11 nominaciones en total
- Emma Parker
- (as Kassie DePaiva)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
This film captures the mood of an area of Upstate New York known as Delaware County. If you visit there, you get a feeling that people 'round them parts keep to themselves and don't care for telling anyone from outside what it's like.
In many ways this is not a creepy film with tension building again and again along with sudden "Boo! Scared Ya!" moments. That kind of stuff gets old quickly anyway. The strength of this film is in its professionalism. It's like everyone is trying to rise above the dreaded B level.
At the beginning of the film there are thunderstorms and floods that portend the rumblings of something unusual going on, and throughout there are beautifully photographed scenes showing the drenched landscape and lush vegetation of late spring.
The acting is excellent, most likely because the actors were provided with something that is rare in many films these days - a great script. Along with the mesmerizing musical score you are brought along at an even pace, mystified by the strange occurrences and behaviors.
By the end of the film, which builds to significant tension, you realize something more terrifying than you would have thought, with a horrifying twist, and a final country tune that might give you chills.
The film does noticeably carry along at a slow pace in its first half as the moviegoer adjusts to the environment and carefully observes this rural atmosphere and its wildly strange inhabitants. Once you familiarize yourself with the family's habits as their backstory unravels, the film begins to kick in. In defense to the flak the film's been receiving from critics who're essentially panning its sluggish pace, I'm forced to question why Terrence Malick's films (the earlier works, especially) are met with such unanimous applause because they perfectly replicate what it means to be excruciatingly slow-paced. With this unfolding plot, the pace eventually picks up in its latter half (unlike Malick's persistence in meddling pace), and we're ultimately greeted, for lack of a better term, with a remarkably tense ending, which serves as a pinnacle in conclusions. Although the film is frankly plagued by an element of predictability due to the way some scenes are shot, an edge of unpredictability is highly prevalent throughout the finale. The crowd encounters several twists and turns along the way until all has been exposed and the conflict hits its marvelous peak. Basically, this is one of those movies that are definitely redeemed by the exceptional manner in which the story wraps up.
By the way, this is, at the end of the day, a horror film in essence, and I greatly appreciated the film's preference of storytelling rather than the mindless path of excessive gore and pointless violence, that which infests the horrendous contemporary horror flicks. Admittedly, I found myself losing interest in the film's events and ensuing mystery until it finally reaches that sweet spot halfway through the story (as previously mentioned). In addition, it's superbly acted with the whole cast terrifically fitting into their roles and the father perfectly conveying that look of menace, intimidating everyone around him with a low-pitched, frightening voice and a werewolf-like, unshaven face. However, I'll have to mention just how irritated I was by the amount of mumbling that was occurring during the beginning. It was extremely difficult to grasp a single word out of their mouths, and I can't possibly stress just how much I hate actors' decisions to mumble. Understandably, they're often found in miserable positions. Regardless, without subtitles, you're left to struggle with understanding as the tale progresses.
Furthermore, the cinematography is undeniably beautiful at times and then, it also serves well when it comes to telling the story with that hint of tension and suspense (the primary goal of a cinematographer, in the first place, before going for fancier shots), complementary to the mise-en-scène as well. The director's consistent use of rack focusing undoubtedly contributes to the outstanding execution of some specific scenes, especially the grand finale. In the end, the film isn't fascinatingly complex or considerably intelligent, but it absolutely works in terms of plot, camera-work, and performances. Though the music disappointedly isn't striking and feels fairly bland and generic (removing potentially greater suspense and eeriness from the final product), We Are What We Are will likely stick in your mind due to the completely unexpected and pulsating intensity that erupts as it nears the finish mark.
The movie itself is beautifully developed to create both a very plausible realism and very well defined characters. It is these characters that are the goal, and the movie does not resort to needless gore to satisfy cruder appetites. The acting is carried off quite flawlessly, and we do find ourselves at least rooting for the children to some degree. All in all it was well worth the watch.
Would I say it is better than the original? Well, given that they are both very different it would be unfair to pit them against each other directly. I will say I did prefer the original overall as it was first, so it took some of the novelty out of the second, and the original made it more of a sort of very twisted coming of age tale than the second movie did, and I really liked that dimension of it. But if I look at them more as apples and oranges, I would say they both are very well done and each earns its place as a highly recommended piece of work.
¿Sabías que…?
- TriviaBased on the screenplay "Somos Lo Que Hay" by Jorge Michel Grau.
- ErroresThe dungeon door's window bars were removed each time the camera looked through it. Four wide vertical bars were visible in approach and open door shots.
- Citas
Marge: I heard somebody down in the shed earlier.
Iris Parker: It must've been Daddy. He's the only one allowed down there. Ever.
Marge: Well, it sounded like a girl crying.
Iris Parker: I don't know what you think you heard, but you must be mistaken.
- ConexionesFeatured in At the Movies: Cannes Film Festival 2013 (2013)
Selecciones populares
- How long is We Are What We Are?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Sitio oficial
- Idioma
- También se conoce como
- We Are What We Are
- Locaciones de filmación
- Margaretville, Nueva York, Estados Unidos(town and surrounding areas)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Total en EE. UU. y Canadá
- USD 81,381
- Fin de semana de estreno en EE. UU. y Canadá
- USD 13,727
- 29 sep 2013
- Total a nivel mundial
- USD 159,047
- Tiempo de ejecución1 hora 45 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1