As Bestas Rodrigo Sorogoyen !!better!! May 2026
(released internationally as The Beasts ) is a critically acclaimed 2022 psychological thriller and "rural noir" directed by Rodrigo Sorogoyen . Co-written with his frequent collaborator Isabel Peña
, the film is a masterclass in slow-burn tension, exploring themes of xenophobia, class struggle, and the clash between idealism and the harsh realities of rural life. Plot Overview Inspired by a true-crime story from 2010, the film follows Antoine and Olga
(played by Denis Ménochet and Marina Foïs), a middle-class French couple who move to a remote village in Galicia, Spain
. Their goal is to live a sustainable life by running an organic farm and restoring abandoned houses to repopulate the area.
Their presence, however, is met with deep-seated resentment from local farmers, particularly the brothers Xan and Lorenzo
(Luis Zahera and Diego Anido). The conflict escalates when Antoine and Olga refuse to sign off on a wind farm project that would provide the locals with a life-changing payout, leading to a campaign of intimidation that spirals into violence. Key Themes The Insider vs. Outsider Dynamic
: The film explores the "vulnerability of global and local bodies," highlighting the friction between "well-traveled" dreamers and impoverished locals who feel trapped by their environment. Masculinity and Violence
: Critics have noted the film's exploration of "masculine values and patriarchal norms," often comparing its tension to classics like Straw Dogs Deliverance Eco-Politics
: The dispute over wind energy serves as a catalyst for larger questions about land ownership, sustainability, and who has the right to decide a community's future. Technical & Critical Reception Cinematography Álex de Pablo
used large-format technology to capture the bleak, rain-soaked landscapes of Galicia, creating a stark contrast to the typical "Spain of sunshine".
: The film was a major success on the awards circuit, winning nine Goya Awards
in 2023, including Best Film, Best Director, and Best Actor for Denis Ménochet. It also won the César Award for Best Foreign Film in France. Performances
: The chemistry between the cast members, particularly the "resentful stares" and animalistic tension between Ménochet and the Galician actors, has been widely praised as central to the film's "nail-biting" suspense.
Film Review — As Bestas (The Beasts) | Simon Dillon Cinema
"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 bestas rodrigo sorogoyen
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?
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.
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
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: (released internationally as The Beasts ) is a
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 (The Beasts) is a 2022 psychological thriller directed by Rodrigo Sorogoyen that stands as one of the most compelling and critically acclaimed pieces of modern Spanish cinema. Expanding on the premise of his 2019 Oscar-nominated short film Madre, Sorogoyen crafts a suffocating narrative about isolation, intolerance, and the clash between tradition and modernity.
Here is an overview of the film, its themes, and its significance.
The Twist: A Change in Perspective
Spoiler Warning: This section discusses the film's structural shift.
Midway through the film, the narrative takes a drastic, jarring turn. Without revealing too much, the perspective shifts from the thriller element of the conflict to the quiet, agonizing aftermath. The film changes from a study of male aggression to a study of female resilience.
This shift is risky, but it pays off. It forces the audience to reckon with the consequences of the toxic masculinity displayed in the first half. It grounds the film in reality, showing that while men play their power games, women are often left to pick up the pieces and do the actual work of living.
b) Rural vs. Urban; Local vs. Foreigner
- Antoine (French, educated, environmentally conscious) vs. Xan (local, illiterate, pragmatic).
- The villagers’ silent support for the brothers – ethnic/cultural homogeneity as a weapon.
- Economic dimension: The wind turbines represent corrupt modernity; locals see no benefit, only outsiders profiting.
Direction and Atmosphere: Sorogoyen’s Rural Gothic
Rodrigo Sorogoyen does not shoot Galicia as a postcard. He shoots it as a labyrinth. Cinematographer Álex de Pablo uses wide shots that dwarf the human figures. The monte (the mountain bushland) is a character in itself—scratchy, flammable, and impenetrable. In the film’s most stunning sequence (the night of the murder), the camera stays static as the characters vanish into the thick fog. We hear the screams before we see the act. It is a return to classical Greek tragedy: the violence happens off-stage, but its echo is unbearable.
The sound design is a masterwork. The mooing of distant cows, the screech of a woodcutter’s saw, the howl of the wind through the eucalyptus trees—these are not background noises; they are the weapons of psychological warfare.
Sorogoyen also deploys a devastating narrative trick: empathy. For the first hour, we hate Xan. But in the final act, we see him humiliated, trapped by his own crime, his family falling apart. When he weeps in his truck, we realize he is also a victim of the land’s brutal logic. He is not a monster; he is a man who has become monstrous.