Rodrigo Sorogoyen’s gripping film, The Beasts (As Bestas), takes place in a small village nestled in the hills of Galicia. The plot revolves around a French couple, Olga (Marina Foïs) and Antoine (Denis Ménochet), who have made the decision to start a new life as organic farmers in this tranquil location. They sell their produce at the town market and spend their free time restoring old abandoned houses. Olga and Antoine, portrayed as gentle and environmentally conscious individuals, also possess enough Spanish language skills to interact with the locals.
Despite the seemingly calm and idyllic setting, the film immediately introduces an undercurrent of tension that permeates the entire narrative. Olga and Antoine find themselves at odds with Xan (Luis Zahera) and Lorenzo (Diego Anido), two brothers who live nearby. Sorogoyen and co-writer Isabel Peña drew inspiration from a real-life incident that occurred over a decade ago, involving a Dutch couple facing a similar predicament. While the ages and details have been altered, the central conflict in The Beasts remains the clash between modern and traditional values, as well as the tension between immigrants and natives.
The animosity between the French couple and the brothers has been simmering for some time when the film begins. It stems from Olga and Antoine’s opposition to the construction of wind turbines in the area. By taking this stance, they unknowingly stoke the resentment and anger of Xan and Lorenzo, who see their own financial opportunities dwindling. The tension between the two sides escalates from uncomfortable remarks made at the local bar to more physical threats. From blocking Antoine’s path home to sabotaging their water well and destroying their crops, the brothers relentlessly torment Olga and Antoine.
Sorogoyen effectively heightens the suspense throughout the film. Antoine, played by the intense and powerful Ménochet, becomes the audience’s eyes into this hostile environment. Every time he steps outside, he is acutely aware of his outsider status and the palpable hatred surrounding him. The director draws inspiration from classic westerns and adds a layer of violence more commonly associated with 70s thriller films like Straw Dogs and Deliverance. The showdown between Antoine and the brothers is not just a fight to the death, but a display of extreme Spanish machismo.
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In the second half of the film, the perspective shifts to Olga. While the violence is not as prominent, the divide between the foreigners and the locals is further explored. The couple’s daughter, Marie (Marie Colomb), arrives for a visit and shares the same incredulity as the viewer towards her parents’ decision to stay in such a hostile environment. Foïs masterfully portrays Olga as a woman driven by love and holding onto a dream that has turned into a nightmare. She refuses to give up and face the consequences head-on.
The performances of Zahera and Anido as the antagonistic brothers are unsettling and captivating. Their bitterness is expressed through passive-aggressive language and behavior, emphasizing the toxic environment surrounding Olga and Antoine. One particularly memorable scene involves Lorenzo offering to give Antoine a ride home and repeatedly speeding away whenever Antoine tries to get in the car. What begins as a harmless joke quickly turns into an act of cruelty, highlighting the deep-seated animosity.
Sorogoyen’s restrained approach to the film allows the story to unfold naturally without excessive editing or sound design. The cinematography by Alejandro de Pablo captures the picturesque beauty of the Galician landscapes, juxtaposing the tranquility of the surroundings with the darkness of the events transpiring. The town itself seems like an ideal place to live, if not for the hostility of its inhabitants.
In conclusion, The Beasts is a tense and gripping drama that tackles themes of rural strife, xenophobia, and cultural hostility. Sorogoyen effectively builds suspense from the opening scene, creating an atmosphere of unease that permeates the entire film. The exceptional performances, particularly from Ménochet and Foïs, further elevate the narrative. The Beasts is a bleak portrayal of Spain, reminiscent of Sorogoyen’s previous works, and sheds light on the corruption and chauvinism plaguing the country.
