We Are What We Are

We Are What We Are, directed by Jim Mickle and released in 2013, is an American horror film pulsating with dark secrets, religious ceremonies, and a family with an uncommon way of life. The film showcases the acting talent of Bill Sage, Ambyr Childers, and Julia Garner as they portray the members of the Parker family living in an isolated, small-town in upstate New York.

The crux of the story revolves around the Parker family, headed by the stern and slightly intimidating Frank Parker, played by Bill Sage. The movie opens with a tragic incident involving the matriarch of the family, Emma Parker. Her sudden death sets the tone for a grim narrative interlaced with suspense and unease. It also raises questions about the nature of the Parker family traditions that the bereaved family now has to navigate in the absence of Emma.

Bill Sage's character, Frank, a seemingly impeccable emulation of the traditional patriarchal figure, is intense and haunting. He is a man of few words, but his strong presence exudes a captivating sense of dread that forms the core essence of the narrative. Frank is a man who resolutely upholds peculiar, age-old family traditions, making him a daunting character.

The daughters, Iris and Rose Parker played by Ambyr Childers and Julia Garner respectively, compel the narrative and its eerie energy forward with their performances. Both actresses perfectly capture the struggle of living under the ominous shadow cast by their lineage and their complex relationship with their history, their family customs, and their father. Their coming of age story, in conjunction with the mysteriousness of their family history, creates a unique divergence from traditional horror or thriller norms.

As the family begins to deal with their loss, the impending tradition of their annual ritual grows in prominence. Tradition, heritage, and religious ceremony occupy a significant part of the storyline and this family ritual, though not initially disclosed to the audience, is evidently something of great importance to the Parkers.

The narrative also includes the local town doctor, Doc Barrow played by Michael Parks, who becomes increasingly suspicious following a few unusual occurrences around the town. Similarly, Deputy Anders portrayed by Wyatt Russell adds another dynamic, introducing a touch of romance into this tale of apprehensive suspense.

Under the veil of these intense plot elements, We Are What We Are gracefully explores the theme of family, loss, and the complicated bond shared by the members of the Parker family. The daughters facing the prospect of carrying on the ominous ritual in their mother’s absence become a bittersweet exploration of the bridging gap between childhood and adulthood, further deepening the layers in this narrative.

The plot thickens with an impending storm - both metaphorical and literal, that seems to reflect the turmoil brewing within the Parker family. The impending storm takes on a chilling personality as it mirrors the tension, suspense and looming dread perfectly timed with the progress of the narrative.

Director Mickle has impressively blended elements of horror with the aesthetics of thriller and cohesive storytelling that take the audience through a fraught journey of the Parker household. The cinematography and production, with its dreary and muted landscape, paints a picture of unease and melancholy that resonates with the narrative.

In conclusion, We Are What We Are is not a standard horror flick that leverages on cheap scares and gory visuals. Instead, it is an atmospheric dive into the life of the Parkers' that is as much about their interpersonal relationships as it is about their unparalleled lifestyle. Its exploration of heritage, mixed with a sense of dread, plays into the natural progression of the plot without unnecessary leaps. It isn’t a story for the faint-hearted, but for those who can stomach it, We Are What We Are offers a tale of a rarely seen dimension of horror - one that delves into the psychology of its subjects as much as it plays upon the fears of its audience.