The Flesh People | Cannibal Horror Comedy | Review
What starts as a quiet film about a pair of odd couple roommates (extra emphasis on “odd”) quickly spirals into a bleak and blood-soaked horror comedy about the death of the American dream in Keshav Srinivasan’s The Flesh People. In his feature debut, the writer-director skewers the current socioeconomic predicament plaguing this country with a showcase of graphic gore and pitch black humor.
When med-school dropout Ricky (Jorge Carrión Álvarez) moves in with aging failed actress Geraldine (Louise Heller), he’s truly down on his luck. The two bond over their respective failures and psychedelic drugs, eventually coming up with various and gruesome ways to make money. Using Ricky’s medical expertise and Geraldine’s unorthodox business ideas, the friends sell organs, perform underground surgeries, and eventually start up their own street food business where–surprise!–the meat is human.
Aside from the gruesome opening credits which feature up close gore shots, the first act of the film is a disarmingly quirky story of two people who have lost their way. There are glimpses into the darker comedy on the way, such as a monologue from Geraldine about the disastrous show that ended her career, but it’s a slow build into the true grotesqueries.
The direction from Srinivasan is excellent, especially when it comes to the visual aesthetic of the film. The decay in the apartment is felt almost immediately, and only gets worse as the film goes on. In true Texas Chain Saw Massacre fashion, the odors practically pop out of the screen, and the seemingly guerilla-style filmmaking done on the streets of New York City give certain sequences the grimy feel of a Frank Henenlotter flick. Psychedelic substances come into play at times, resulting in trippy imagery and questionable reality. The incredible gore effects from Beatrice Sniper are incorporated and edited seamlessly.
The assured direction also results in two incredible lead performances from Álvarez and Heller. Álvarez sells Ricky’s disillusionment and shame while sowing seeds for the inevitable turn for the worst. The rules he insists upon when he and Geraldine start their “restaurant” are made to be broken in a film like this. Ricky’s trajectory feels obvious from the start, but the script and Álvarez’s layered performance make it also feel earned.
Heller’s Geraldine is an excellent foil to Ricky. She starts the film a misanthropic shut-in before ironically finding some empathy as the film progresses. In a dialogue-heavy film, Heller’s eccentric and vain actress has the lion’s share, and she nails it. Her monologue about the disastrous performance she gave on 9/11 (yes, that 9/11) is utterly ridiculous, yet her delivery makes it feel real.
Eventually, the comedy goes pitch black. The third act is incredibly bold in its bleakness, impressively never breaking the comedic tone. Even bolder is the surreal final shot, which left this writer both confused and curious. Dark comedies are always better when they stick to their guns, and The Flesh People doesn’t shy away from its nastier elements. Botched eye surgery, impromptu kidney removal, a fridge full of body parts–it’s all part of the grotesque fun.
Even in the humor, this is an angry film that doesn’t shy away from the worsening conditions of modern living. A medical student dropout performing underground surgery on people who can’t afford healthcare makes a pretty bold statement. The commentary on the decay of America isn’t exactly subtle or nuanced, but neither is the nation this film is lampooning. The satire is broad, but it’s also sharp.
In short, The Flesh People is a fun flick for sickos. The gore effects look amazing, and the laughs are plenty. If cannibal comedies are your thing, this one is as grisly as they come.
The Flesh People is currently in its festival run. It will be screening at the New Jersey International Film Festival on September 26th at 7PM.
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