As — Bestas Rodrigo Sorogoyen

As Bestas is not a comfortable watch. It is a necessary one. It holds a mirror to the rural-urban divide and asks us to see the beast within our own reflection. In an age of polarization, Sorogoyen suggests that the most dangerous animal is not the wolf in the woods—it is the human being backed into a corner with no way out but through.

Rodrigo Sorogoyen has crafted a film that refuses to let the audience off the hook. It is a horror movie about property lines. A thriller about pronouns (us vs. them). A tragedy where the villain is the architecture of capitalism itself. as bestas rodrigo sorogoyen

Following the international acclaim of The Realm (2018) and Mother (2019), Sorogoyen pivots from political corruption and real-time grief to a stark, rural fable. What emerges is arguably his most mature, harrowing, and essential work—a film that won nine Goya Awards, including Best Film, Best Director, and Best Original Screenplay. As Bestas is not a comfortable watch

Marina Foïs delivers a masterclass in transformation. Olga is initially the more timid of the couple—she speaks broken Spanish, she mediates, she pleads for peace. After tragedy strikes, she morphs into a cold, calculating avenger. She does not pick up a gun or a machete. Instead, she weaponizes bureaucracy, law, and language. In an age of polarization, Sorogoyen suggests that