The title is a clever trap. Who are the beasts?
On the surface, it is Xan and Lorenzo. Luis Zahera delivers a volcanic, Goya-winning performance as Xan—a man so poisoned by resentment that his face twitches with barely contained rage. He is not a cartoon villain. He is a product of a dying rural economy who sees a foreigner dictating the terms of his survival. When Xan snarls, "You don’t know what hunger is," he reveals the wound: the urban elite preserving nature for their own aesthetic pleasure while rural communities starve.
Yet, the film forces us to look at Antoine. Is his stubborn idealism a form of monstrosity? He claims to be defending the landscape, but he is willing to sacrifice the economic well-being of an entire village for his principles. He refuses to compromise, to negotiate, or to leave. In the context of the community, his sainthood looks like arrogance. Sorogoyen refuses to pick a side. The beasts are not the brothers; the beast is the situation itself—a zero-sum game where empathy dies.
The title is deliberately ambiguous. Who are the real beasts?
1. Insularity and Xenophobia: The film explores the friction between "locals" and "foreigners." While Antoine and Olga try to integrate, they are ultimately viewed as invaders. The locals speak Galician among themselves, a linguistic barrier that adds to Antoine's isolation. Sorogoyen critiques the dark side of rural communities: a mentality of "us versus them" that can turn neighborly disputes into blood feuds.
2. The Environment: The setting is not just a backdrop; it is a character. The Galician forests are beautiful but trapping. The mud, the rain, and the overgrowth mirror the characters' entrapment in their own grudges and stubbornness. The title As Bestas (The Beasts) suggests that, under the right pressures, civility is a thin veneer and humans can revert to animalistic behavior.
3. Stubbornness: Antoine is not a perfect victim. His refusal to sell is rooted in principle, but as the film progresses, his stubbornness becomes a fatal flaw. He refuses to back down or leave, even when the danger is palpable, turning the farm into a battleground he cannot win.
The Beasts is not an "easy" watch. It is uncomfortable, frustrating, and at times, bleak. But it is essential viewing for anyone who appreciates cinema that trusts its audience.
It doesn't hold your hand. It presents a conflict that feels ripped from the headlines of rural Europe and asks difficult questions about gentrification, isolation, and what happens when two worlds refuse to understand one another.
The Verdict: A taut, atmospheric triumph. Rodrigo Sorogoyen has crafted a film that feels timeless, anchored by some of the best acting in European cinema this decade. It serves as a stark reminder: sometimes, the scariest monsters aren't the ones under the bed, but the ones living next door.
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 (The Beasts), directed by Rodrigo Sorogoyen, is a 2022 psychological thriller that explores the violent collision between rural tradition and modern ideals in the remote mountains of Galicia, Spain.
The film follows Antoine (Denis Ménochet) and Olga (Marina Foïs), a French couple who move to a small Galician village to practice organic farming and restore abandoned houses. Their presence sparks a simmering, xenophobic hostility from two local brothers, Xan (Luis Zahera) and Lorenzo (Diego Anido), who are desperate to sell their land to a wind energy developer—a deal that requires unanimous village consent, which Antoine refuses to give. Key Themes and Analysis
The Conflict of "Progress": The narrative centers on the controversial implementation of renewable energies in the Spanish rural landscape, where wind turbines are viewed by locals as a financial lifeline and by the French "outsiders" as an ecological threat. as bestas rodrigo sorogoyen
Xenophobia and Class: The tension is fueled by a "law of the jungle" dynamic, where the brothers view Antoine’s refusal as a luxury of the wealthy, while they remain trapped in systemic poverty.
Gender and Resilience: The film's structure shifts significantly in its second half, transitioning from a male-dominated thriller to a story of quiet, persistent female resilience as Olga continues their mission despite mounting tragedy.
Ecological Cinema: Critics categorize the film alongside others like Alcarràs as part of a new wave of Spanish environmental cinema that moves beyond "beautifying" nature to address complex sociopolitical conflicts over land exploitation. Critical Reception and Awards
Goya Awards: The film dominated the 37th Goya Awards, winning nine categories, including Best Film, Best Director (Sorogoyen), and Best Actor (Ménochet).
César Awards: It won the César Award for Best Foreign Film in France.
Performances: Luis Zahera’s portrayal of Xan is widely cited as a standout performance, capturing a terrifyingly grounded brand of rural menace.
The film is noted for its high-tension "modern noir" style, particularly in scenes like the bar confrontations and the harrowing climax in the woods. My 2023: A Year Interrupted | Nobody Knows Anybody
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.
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. The title is a clever trap
"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?
Directed and co-written by Rodrigo Sorogoyen, (internationally released as The Beasts) is a 2022 psychological thriller set in the rural Galician countryside. The story centers on a middle-aged French couple, Antoine and Olga, who have moved to a small, depopulated village to practice sustainable farming and restore abandoned homes. The Core Conflict
The couple's peaceful life is shattered by a bitter dispute with their neighbors, the Anta brothers (Xan and Lorenzo).
The Trigger: A Norwegian company offers to buy the villagers' land to build a wind farm.
The Divide: While the local brothers see the payout as their only chance to escape a life of grueling toil, Antoine and Olga vote against the project to protect the environment.
Escalation: This disagreement ignites a campaign of xenophobic harassment and sabotage by the brothers, leading to a "point of no return" marked by psychological and physical violence. Narrative Structure The film is noted for a significant mid-point shift:
First Act: Focuses on the brewing machismo and tension between Antoine and the brothers.
Second Act: Following a tragic event, the perspective shifts to Olga, highlighting her quiet resilience and determination to stay despite the hostility and her daughter's pleas to leave.
Vou escrever um rascunho de longa-metragem inspirado livremente em As Bestas (filme de Rodrigo Sorogoyen). Assumo um thriller psicológico rural com tensão entre locais e forasteiros; não reproduzirei cenas do filme nem personagens idênticos — é uma obra original.
Logline Um casal de estrangeiros compra uma casa remota numa aldeia espanhola para recomeçar; a hostilidade crescente dos vizinhos e segredos enterrados na terra desencadeiam paranoia, violência e uma verdade devastadora.
Estrutura (3 atos) Ato I — Instalação (30 min)
Ato II — Escalada (50–60 min)
Ato III — Ruptura e consequência (30–40 min)
Personagens principais (breve)
Temas e tom
Sequência chave (exemplo detalhado — ~6 páginas no roteiro) Cena: A festa da padroeira — noite
Tratamento estético (direção e som)
Arcos emocionais
Possíveis finais alternativos (breves)
Primeiras 5 cenas (sinopses curtas)
Notas de produção
Se quiser, escrevo o tratamento estendido de 10–15 páginas ou transformo em roteiro de 10 cenas com diálogos.
The Unrelenting Tension of Rodrigo Sorogoyen’s As Bestas In the landscape of contemporary Spanish cinema, few filmmakers command the mechanics of tension as masterfully as Rodrigo Sorogoyen. With his 2022 powerhouse As Bestas (The Beasts), Sorogoyen transitioned from the urban thrillers that made his name—such as Que Dios nos perdone and El Reino—into the rugged, unforgiving terrain of rural Galicia.
The result is a psychological thriller that functions as a modern-day Western, exploring the explosive intersection of xenophobia, class warfare, and the grueling reality of rural life. The Premise: A Conflict of Ideals
Inspired by true events (the real-life "Santoalla" case), As Bestas follows Antoine (Denis Ménochet) and Olga (Marina Foïs), a French couple who have moved to a decaying Galician village to practice sustainable farming and restore abandoned houses.
Their presence is an affront to the Xan (Luis Zahera) and Lorenzo (Diego Anido), two brothers who have lived in the village their entire lives. The catalyst for the conflict is a proposed wind farm: the French couple refuses to sign the agreement, blocking the payout the impoverished locals desperately need to escape their hardscrabble existence. Sorogoyen’s Mastery of Atmosphere
What sets As Bestas apart is Sorogoyen’s refusal to rely on cheap jump scares or melodramatic tropes. Instead, he builds a "slow-burn" dread through:
Lingering Long Takes: The camera often stays stationary, forcing the audience to endure uncomfortable conversations in real-time. A standout scene in a local bar features a circular argument that feels like a physical assault.
The Landscape as a Character: The Galician mountains are beautiful but claustrophobic. Sorogoyen and cinematographer Alex de Pablo use the mist and the jagged terrain to isolate the protagonists, making the vast outdoors feel as tight as a prison cell.
A Shift in Perspective: In a daring narrative move, the film’s final act shifts focus significantly, moving from a traditional masculine confrontation to a story of quiet, female resilience. Powerhouse Performances
The film’s success rests heavily on its cast. Denis Ménochet provides a soulful, simmering performance as a man trying to maintain his dignity while being slowly hunted. However, it is Luis Zahera who steals the film. As Xan, Zahera embodies a terrifying, grounded villainy—a man driven not by pure evil, but by a lifetime of resentment and the "intellectual" condescension he feels from his foreign neighbors. Themes: Intellectualism vs. Survival
At its core, As Bestas is a critique of "green colonialism" and the gap between urban idealism and rural necessity. Antoine and Olga see the village as a project; Xan and Lorenzo see it as a tomb. Sorogoyen doesn't paint the locals as simple monsters; he illustrates how poverty and lack of opportunity can turn neighbors into "beasts." Critical Reception and Awards
As Bestas dominated the 37th Goya Awards, winning nine categories, including Best Film, Best Director, and Best Actor. It also received widespread international acclaim at the Cannes Film Festival, cementing Sorogoyen’s status as one of Europe’s premier directors. Conclusion
As Bestas is more than a thriller; it is a haunting meditation on what it means to belong to a land. It is a grueling, essential piece of cinema that lingers in the mind long after the final frame. For fans of high-stakes drama and meticulous filmmaking, Rodrigo Sorogoyen has delivered a definitive masterpiece of the decade.
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.
Keywords: As Bestas Rodrigo Sorogoyen, The Beasts movie review, Rodrigo Sorogoyen Goya Awards, Spanish thriller As Bestas, Galician cinema, Denis Ménochet, Luis Zahera, rural horror films.
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
If you are researching "as bestas rodrigo sorogoyen," you are likely deciding whether to commit two hours and seventeen minutes to a slow-burn foreign thriller. Here is why you should: As Bestas: Exploring the Primal Tensions of Rodrigo