As Bestas Rodrigo Sorogoyen Site
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As Bestas: Exploring the Primal Tensions of Rodrigo Sorogoyen’s Rural Thriller (The Beasts), director Rodrigo Sorogoyen
delivers a masterclass in slow-burn psychological tension, transforming a quiet corner of rural Galicia into a theater of primal conflict
. Inspired by a tragic true story, the film follows Antoine (Denis Ménochet) and Olga (Marina Foïs), a middle-aged French couple who moved to the Spanish countryside to run an organic farm. Their dreams of a simpler life are shattered when they clash with local brothers Xan and Lorenzo over a wind turbine development that the locals see as their only escape from poverty. A Tale of Two Halves
The film is famously divided into two distinct tonal halves: The Western First Half:
Sorogoyen utilizes classic Western tropes—static cameras, wide landscapes, and a "saloon-like" local bar—to establish a "solid, rough" masculine viewpoint. This section focuses on the escalating, machismo-fueled hostility between Antoine and his neighbors. The Meditative Second Half:
The perspective shifts to Olga, and the filmmaking style transforms. Swapping tripods for Steadicams, the camera adopts a lighter, more intimate touch to explore themes of grief, fortitude, and feminine resilience. The Symbolism of the "Beasts" The title refers to the Rapa das Bestas
, a Galician tradition where villagers wrestle wild horses to shear their manes. This ritual serves as a haunting opening sequence and a recurring allegory for the "domination via violence" that permeates the film’s central conflict. It questions whether humans, despite our masks of civility, are ever truly better than the animals we seek to tame. Critical Acclaim and Awards
has been universally lauded for its raw intensity and performances, particularly from Luis Zahera as the menacing Xan. It dominated the 37th Goya Awards , winning nine categories including:
Film Review — As Bestas (The Beasts) | Simon Dillon Cinema
A feud develops between a middle-aged French couple and local Spanish farmers in Rodrigo Sorogoyen's riveting drama. Simon Dillon. Simon Dillon 'The Beasts': Rodrigo Sorogoyen Opens Up at San Sebastian
As Bestas is not an easy watch. It is long, bleak, and often hopeless. But it is essential viewing.
Rodrigo Sorogoyen has crafted a film that asks a terrifying question: If you strip away laws, police, and social media, what are you? The French idealist thinks he is a shepherd. The Galician farmer thinks he is a king. As Bestas suggests that, in the end, we are all just animals fighting over a carcass.
For lovers of international cinema, psychological horror, or simply those who want to see what the best of modern Spanish filmmaking looks like, As Bestas is an unmissable, savage masterpiece. Do not watch it alone. Do not watch it in the dark. And never, ever turn your back on the land.
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The Unflinching Gaze of Rodrigo Sorogoyen: Unpacking the Depth of "As Bestas"
In the realm of contemporary Spanish cinema, few filmmakers have managed to captivate audiences with the same level of intensity and nuance as Rodrigo Sorogoyen. With his latest film, "As Bestas" (2021), Sorogoyen solidifies his reputation as a masterful storyteller, delving into the complexities of human nature and the blurred lines between civilization and savagery.
The Film's Premise
"As Bestas" tells the story of a group of friends who embark on a hunting trip in the Spanish countryside. The excursion, meant to be a bonding experience and a chance to disconnect from the stresses of urban life, gradually descends into chaos as the group's dynamics unravel and their primal instincts take over. What begins as a tranquil retreat into nature soon becomes a descent into the darkest recesses of human psychology.
Sorogoyen's Vision
Through "As Bestas," Sorogoyen poses fundamental questions about the human condition, encouraging viewers to confront the duality of their own nature. The film's title, which translates to "The Beasts," is a deliberate reference to the idea that, beneath the veneer of civility, lies a primal, bestial essence waiting to be unleashed.
Sorogoyen's vision is not merely to create a visceral, thrilling experience but to craft a thought-provoking exploration of the tensions between individuality and group mentality. By stripping his characters of their social masks, he lays bare their insecurities, fears, and desires, revealing the fault lines that separate human beings from the natural world.
The Performances
The ensemble cast, comprising seasoned actors such as José Coronado, Antonio Velázquez, and Luis Zahera, deliver performances that are at once raw and refined. As the narrative spirals out of control, the actors skillfully convey the escalating tensions and emotions, imbuing their characters with a palpable sense of vulnerability.
The Cinematography
Shot on location in the rugged Spanish countryside, the film's cinematography, handled by Rafael Iruegas, is a character in its own right. The camera work is breathtaking, capturing the unforgiving beauty of the landscape and the intense physicality of the characters' actions. Iruegas's lens work masterfully oscillates between intimacy and distance, reflecting the characters' increasingly fractured relationships.
Themes and Symbolism
Beneath its surface-level depiction of a hunting trip gone awry, "As Bestas" teems with symbolism and thematic resonance. Sorogoyen engages with a range of ideas, from the Aristotelian concept of "thymos" (the spiritedness that drives human beings) to the tensions between nature and culture.
The film's use of hunting as a metaphor for the human condition is particularly striking. As the characters stalk their prey, they are, in effect, stalking their own darker selves, confronting the beasts within. This struggle is echoed in the film's score, composed by Julio de la Rosa, which seamlessly blends diegetic and non-diegetic sound to create an unnerving sense of unease.
Critical Context
"As Bestas" arrives at a time when Spanish cinema is experiencing a renaissance, with filmmakers like Sorogoyen, Carlos Simón, and Benito Zambrano pushing the boundaries of narrative storytelling. The film has drawn comparisons to the works of Spanish auteur Luis Buñuel, whose subversive, psychologically complex films continue to inspire generations of filmmakers.
Conclusion
In "As Bestas," Rodrigo Sorogoyen has created a masterpiece of contemporary Spanish cinema, a film that not only unsettles but also thoughtfully provokes. By plunging his characters into the heart of the natural world, Sorogoyen reveals the darkness that lurks within us all, laying bare the primal fears and desires that underpin human existence.
As a work of cinematic art, "As Bestas" joins the ranks of Sorogoyen's previous films, such as "Tengo ganas de ti" (2012) and "Stockholm" (2013), cementing his reputation as one of the most innovative and fearless filmmakers working today. For audiences willing to confront the beasts within, "As Bestas" offers a visceral, unforgettable experience that will linger long after the credits roll.
The Beasts ), released in 2022, is a psychological thriller directed by Rodrigo Sorogoyen . It swept the 37th Goya Awards in Spain, winning nine categories including Best Director Best Original Screenplay Core Premise & Plot Inspired by a true story
, the film follows Antoine (Denis Ménochet) and Olga (Marina Foïs), a middle-aged French couple who have settled in a remote village in The Conflict:
The couple’s presence creates tension with their neighbors, specifically the brothers Xan (Luis Zahera) and Loren (Diego Anido). The Trigger:
A wind energy company offers to buy the villagers' land for a wind farm project. While the locals see this as their only ticket out of poverty, the French couple refuses to sell, blocking the deal for everyone. Narrative Structure:
The film is divided into two distinct halves. The first is a high-tension "masculine" thriller focused on Antoine's confrontation with the brothers; the second shifts focus to Olga and the female experience of grief and persistence. Key Themes as bestas rodrigo sorogoyen
Film Review — As Bestas (The Beasts) | Simon Dillon Cinema
(2022), directed by Rodrigo Sorogoyen , is a masterful rural thriller that explores the terrifying heights of xenophobia and neighborly conflict in a remote Galician village. Co-written with his longtime collaborator Isabel Peña
, the film is a taut psychological drama that transforms a dispute over land and wind turbines into a haunting meditation on violence and resilience. Key Narrative Pillars The Conflict
: Antoine and Olga, a middle-aged French couple, have settled in a dying Spanish village to practice organic farming and restore abandoned homes. Their refusal to sign a deal for a wind energy project—which would grant the impoverished locals a small payout—ignites a brutal feud with two local brothers, Xan and Lorenzo. Escalating Tension
: Sorogoyen uses long, unhurried takes and powerful dialogue to build a "law of the jungle" atmosphere. The film's first half is defined by male-driven, physical intimidation, while the second shift focuses on Olga’s quiet, stubborn determination to seek justice after a catastrophe strikes. The Performances Denis Ménochet
delivers a powerhouse performance as the beleaguered Antoine, while Marina Foïs anchors the film's emotional core as Olga. Luis Zahera
, as the menacing Xan, provides a chilling portrayal of deep-seated resentment. Critical Success and Themes My 2023: A Year Interrupted | Nobody Knows Anybody 1 Jan 2024 —
Multiple scenes in As bestas (Rodrigo Sorogoyen, 2022): in the bar, the one with the game of dominoes, and the one where Antoine ( nobodyknowsanybody.com The Beasts (As Bestas) - film review - DMovies 19 Sept 2022 —
Language and family trivia aside, The Beasts is a gripping rural thriller with a duration of 130 minutes that fly by very quickly.
The Beasts (as Bestas), Rodrigo Sorogoyen, Denis Ménochet, 2022
In (2022), director Rodrigo Sorogoyen crafts a searing rural noir that transcends the "stranger in a strange land" trope to examine the visceral friction between modern idealism and ancestral survival. Inspired by the real-life disappearance of Martin Verfondern in the Galician village of Santoalla, the film explores how a dispute over wind turbines ignites a dormant savagery in a dying community. A Narrative of Two Halves
The film is notably bifurcated, shifting its focus from male confrontation to female endurance:
The First Act (The Men): Centered on Antoine (Denis Ménochet), this segment is a claustrophobic psychological thriller. It builds around "male rage" and the stubborn refusal of both the French newcomer and the local brothers, Xan (Luis Zahera) and Lorenzo (Diego Anido), to back down.
The Second Act (The Women): Following a pivotal shift, the narrative refocuses on Olga (Marina Foïs). This half abandons the "masculine bluster" for a meditative exploration of grief, stoicism, and the pursuit of justice within a system that largely ignores the rural world. Thematic Core: Gentrification and Xenophobia
Sorogoyen uses the Galician landscape as a "combat arena" to dissect complex socio-political layers:
Competing Dreams: For the French couple, the village is a pastoral Eden for organic farming. For the locals, it is a "grueling existence" they are desperate to escape via the payout from an energy company.
Xenophobia vs. Class Resentment: The hostility isn't just about nationality; it's a clash between those with the luxury of choice (urban transplants) and those trapped by generations of poverty. Visual and Directorial Style
The film’s power lies in its stifling tension and deliberate pacing:
Long Takes: Sorogoyen employs uncomfortably long takes—most notably a breathtaking single-shot dialogue in a bar—to capture the "explosive buildup" of verbal violence before it becomes physical. If you need, I can expand any section (e
Oppressive Atmosphere: Cinematographer Alejandro de Pablo utilizes a "dirt-under-the-fingernails" aesthetic, where the vast autumnal woods and gloomy interiors feel equally trapping.
The "Beasts" Metaphor: The opening slow-motion sequence of the Rapa das Bestas festival—where men wrestle wild horses to the ground—serves as a brutal foreshadowing of how human characters will eventually attempt to subdue one another. Critical Consensus
Reviewers from platforms like The Guardian and Roger Ebert praise the film as a "mature meditation on the modern world". While some critics found the final act’s transition into drama less effective than the initial thriller-like tension, most agree that the "universally strong performances"—particularly the contrast between Ménochet's "wounded-bear" testiness and Zahera's "attack-dog fury"—make it one of the most powerful Spanish films of recent years. The Beasts movie review & film summary - Roger Ebert
"As Bestas" (The Beasts) is a Spanish-French thriller film written and directed by Rodrigo Sorogoyen. The movie stars Manolo Cardona, Antonio Velázquez, and María León.
The plot revolves around Ovidio (played by Manolo Cardona), a debt-ridden farmer who lives in a remote area of Galicia with his wife, Flora (María León). When Ovidio starts to receive anonymous threats and intimidation from a mysterious figure, he becomes increasingly paranoid and isolated.
As tensions escalate, Ovidio's behavior becomes more erratic, leading to a tragic confrontation. The film explores themes of isolation, paranoia, and the blurred lines between reality and fantasy.
"As Bestas" premiered at the 79th Venice International Film Festival and received critical acclaim for its tense atmosphere, strong performances, and Sorogoyen's masterful direction.
Would you like more information about the film or Rodrigo Sorogoyen's work?
As Bestas (2022), directed by Rodrigo Sorogoyen, is a masterful psychological thriller that explores the volatile intersection of rural traditions, modern environmentalism, and xenophobia. Known as The Beasts in English, the film swept the 37th Goya Awards, winning nine prizes including Best Film and Best Director. Plot and True Story Inspiration
The film centers on Antoine and Olga (played by Denis Ménochet and Marina Foïs), a middle-aged French couple who move to a remote village in Galicia, Spain, to start an organic farm and rehabilitate abandoned stone cottages. Their peaceful vision is shattered by a conflict over a proposed wind farm project; while the impoverished locals want to sell their land to the developers for a payout, Antoine and Olga’s refusal blocks the deal.
Film Review — As Bestas (The Beasts) | Simon Dillon Cinema
A feud develops between a middle-aged French couple and local Spanish farmers in Rodrigo Sorogoyen's riveting drama. Simon Dillon. Medium·Simon Dillon
The title is deliberately slippery. Who are the beasts?
At first, we assume it refers to the brothers. Xan is a bull-necked nationalist who mocks Antoine’s French accent and accuses him of being a hypocrite. "You want to save the planet," Xan sneers, "but you don't want us to earn a living." Lorenzo, who speaks rarely, communicates through brute force, smashing a woodcutter’s tool into a wall during a community meeting.
But as the film grinds toward its horrific central event—the abduction and murder of Antoine—Sorogoyen flips the script. The real beast, he suggests, might be the land itself. Or perhaps the beast is the desperation of depopulated rural Europe. The villagers are not evil; they are starving. The young have left for the cities. The only currency left is land, and Antoine is a foreigner holding their lottery ticket hostage.
When Antoine disappears, the film morphs again. Olga becomes the protagonist, turning the story into a female-driven survival horror. Marina Foïs delivers a performance of steely, silent endurance. While the men solve problems with violence, Olga uses patience and strategy, wearing hidden microphones to record confessions, turning the isolated house into a surveillance nest.
Just when you think As Bestas is a simple "city vs. country" revenge thriller, Sorogoyen executes a brilliant tonal shift in the final forty minutes. After the central act of violence (which will not be spoiled here), the narrative focus moves from Antoine to his wife, Olga.
Marina Foïs delivers a masterclass in transformation. Olga is initially the more timid of the couple—she speaks broken Spanish, she mediates, she pleads for peace. After tragedy strikes, she morphs into a cold, calculating avenger. She does not pick up a gun or a machete. Instead, she weaponizes bureaucracy, law, and language.
In a stunning sequence, Olga walks into the local municipal office and, in perfectly articulated Galician (a dialect she previously struggled with), systematically dismantles the brothers' alibi. The final confrontation is not a shootout in a barn, but a wiretap in a police station. Sorogoyen suggests that civilization’s most powerful weapon isn’t brutality—it is patience and intelligence. The ending is ambiguous, gut-wrenching, and deeply satisfying in its moral complexity. As Bestas is not an easy watch