The thought of human extinction is a truly terrifying concept. Whether it be from ecological threats brought on by climate change, or at our own hands through over-consumption and corporate greed, those who choose a simple life are increasingly facing difficulties. As society adapts to more advanced technology and capabilities, those who refuse to adapt either get lost in the nostalgia of the past or are forced to embrace the changes.
Survival and identity are key elements in Spanish director Rodrigo Sorogoyen’s haunting eco-thriller The Beasts, a simmering piece of filmmaking that broods with tension and despair. Part true-crime drama and part social realism, The Beasts is an exceptional viewing experience that offers multi-layered commentary on gentrification and the repercussions of strongly-held beliefs.
Set in a picturesque Galician farming village commonly referred to as the “Wild West” of Spain, a middle-aged French couple, Olga and Antoine (Marina Foïs and Denis Ménochet), find themselves at odds with their contentious neighbors after moving into the community. Their new home sits in a region that, while beautiful, is fraught with economic hardship and desperation. The couple, uprooted from their previous life, decide to relocate to the village to try their hand as organic farmers. Their love for the work is unquestionably pure; Olga and Antoine rigorously stick to their harvesting schedule so they have enough produce to sell at the local farmer’s market in town. Their land is their livelihood, and the most important asset in their lives.
However, longtime residents of the village aren’t thrilled with their new neighbors’ hobby, especially when it comes between a potentially lucrative business deal. Local brothers, Xan (Luis Zahera) and Lorenzo (Diego Anido), are also farmers who’ve struggled for generations to earn a living but see their ticket out of survival mode when foreign interests offer quick cash to use the land to develop wind turbines. Olga and Antoine strongly object to selling the property, which enrages the brothers. Psychological torture ensues, causing Antoine to fear for his and his wife’s safety. This brewing fight between good-intentioned immigrants and desperate natives reaches a breaking point toward the middle of the film, building to a crescendo that is entirely gripping.
In The Beasts, Rodrigo Sorogoyen creates a dazzling display of complex gentrification dynamics through beautiful visuals and a pulsating score. The soundtrack by composer Olivier Arson creeps in and out of scenes with its organic melodies. The instruments sound as if they could have been sourced from natural elements, adding to the earthy tone that encompasses the film. Conceptually, the film feels breathy and lived in. The actors – who all give phenomenal performances – are given space and time to embody the dialogue, without any feeling of rushed or inconclusive moments.
Akin to the Icelandic eco-thriller Woman at War, The Beasts similarly hits on the struggle to preserve our natural environment. What this film does so well is portray all of the sides to the story, blurring the line between victim and perpetrator. Winner of nine Goya Awards, Spain’s equivalent of the Academy Awards, including Best Picture and Best Director, The Beasts is a revelation and a film not to be missed.
Distributed by Greenwich Entertainment. Opening at the Laemmle Royal this Friday, 8/4.
