We Are What We Are (2013)
Directed by Jim Mickle
The Parkers, reclusive people who cling to ancient customs, find their secret lives threatened when a torrential downpour and the death of the family matriarch forces daughters Iris and Rose to assume special responsibilities.
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What critics compared We Are What We Are to
It’s the trick that Fritz Lang pulled so memorably in “M,” and if Mickle doesn’t match him, that’s hardly a surprise.
In some ways, We Are What We Are reminded me a bit of Giorgos Lanthimos’ 2009 twisted family tale Dogtooth; while it doesn’t quite hit that film’s watermark for shocking originality, it does explore similar ideas of what happens when children raised in religious isolation, with bizarre family rules replacing normalcy, the coming-of-age and teenage rebellion of children threatening the domination of the parents.
It might be the most searing, bizarre portrait of a household since the 2010 Greek masterpiece "Dogtooth."
While Kelly McGillis (“We Are What We Are”, “What Could Have Been”) doesn’t return as the love of Maverick’s life, Connelly now fills that role.
With 2014's Blue Ruin (and his less well-known but equally entertaining 2007 debut, Murder Party), writer-director Jeremy Saulnier established himself as a fresh voice within horror/suspense, one of a growing horde of indie filmmakers -- including Ti West ( The House of the Devil , The Sacrament ), Adam Wingard (You're Next, The Guest), Lucky McKee (May, The Woman ), Jim Mickle ( Stake Land , We Are What We Are) and more -- making a push to legitimize the genre with critically acclaimed fare that bucks the polished, regurgitated nature of studio fright flicks.