In this poignant and provocative analysis of Mexico, the country finds itself in the aftermath of some apocalypse or other right from the start. To emphasise this vision, Emiliano Rocha Minter creates in his debut film an allegorical universe that breathes borderline surrender and demise, from its title, We Have the Flesh, and surreal art direction, to the surprising finale. Mariano has withdrawn to a house from which all existential meaning has been sucked out. Obsessed by the idea of transforming the rooms into a womb-like cave, he spends his days distilling - and consuming - alcohol from old bread. Until brother and sister Lucio and Fauna discover his hiding place. In exchange for food and shelter, they help him create the cave. As the work progresses, Mariano shares his strange rituals with them. A disquieting sexual relationship emerges, along with a dynamic in which darker instincts do their destructive work.