As Bestas Rodrigo Sorogoyen May 2026

"As Bestas" (The Beasts) is a Spanish-French thriller film written and directed by Rodrigo Sorogoyen. The movie stars Manolo Cardona, Antonio Velázquez, and María León.

The plot revolves around Ovidio (played by Manolo Cardona), a debt-ridden farmer who lives in a remote area of Galicia with his wife, Flora (María León). When Ovidio starts to receive anonymous threats and intimidation from a mysterious figure, he becomes increasingly paranoid and isolated.

As tensions escalate, Ovidio's behavior becomes more erratic, leading to a tragic confrontation. The film explores themes of isolation, paranoia, and the blurred lines between reality and fantasy.

"As Bestas" premiered at the 79th Venice International Film Festival and received critical acclaim for its tense atmosphere, strong performances, and Sorogoyen's masterful direction.

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The Unrelenting Tension of Rodrigo Sorogoyen’s As Bestas In the landscape of contemporary Spanish cinema, few filmmakers command the mechanics of tension as masterfully as Rodrigo Sorogoyen. With his 2022 powerhouse As Bestas (The Beasts), Sorogoyen transitioned from the urban thrillers that made his name—such as Que Dios nos perdone and El Reino—into the rugged, unforgiving terrain of rural Galicia.

The result is a psychological thriller that functions as a modern-day Western, exploring the explosive intersection of xenophobia, class warfare, and the grueling reality of rural life. The Premise: A Conflict of Ideals

Inspired by true events (the real-life "Santoalla" case), As Bestas follows Antoine (Denis Ménochet) and Olga (Marina Foïs), a French couple who have moved to a decaying Galician village to practice sustainable farming and restore abandoned houses.

Their presence is an affront to the Xan (Luis Zahera) and Lorenzo (Diego Anido), two brothers who have lived in the village their entire lives. The catalyst for the conflict is a proposed wind farm: the French couple refuses to sign the agreement, blocking the payout the impoverished locals desperately need to escape their hardscrabble existence. Sorogoyen’s Mastery of Atmosphere as bestas rodrigo sorogoyen

What sets As Bestas apart is Sorogoyen’s refusal to rely on cheap jump scares or melodramatic tropes. Instead, he builds a "slow-burn" dread through:

Lingering Long Takes: The camera often stays stationary, forcing the audience to endure uncomfortable conversations in real-time. A standout scene in a local bar features a circular argument that feels like a physical assault.

The Landscape as a Character: The Galician mountains are beautiful but claustrophobic. Sorogoyen and cinematographer Alex de Pablo use the mist and the jagged terrain to isolate the protagonists, making the vast outdoors feel as tight as a prison cell.

A Shift in Perspective: In a daring narrative move, the film’s final act shifts focus significantly, moving from a traditional masculine confrontation to a story of quiet, female resilience. Powerhouse Performances

The film’s success rests heavily on its cast. Denis Ménochet provides a soulful, simmering performance as a man trying to maintain his dignity while being slowly hunted. However, it is Luis Zahera who steals the film. As Xan, Zahera embodies a terrifying, grounded villainy—a man driven not by pure evil, but by a lifetime of resentment and the "intellectual" condescension he feels from his foreign neighbors. Themes: Intellectualism vs. Survival

At its core, As Bestas is a critique of "green colonialism" and the gap between urban idealism and rural necessity. Antoine and Olga see the village as a project; Xan and Lorenzo see it as a tomb. Sorogoyen doesn't paint the locals as simple monsters; he illustrates how poverty and lack of opportunity can turn neighbors into "beasts." Critical Reception and Awards

As Bestas dominated the 37th Goya Awards, winning nine categories, including Best Film, Best Director, and Best Actor. It also received widespread international acclaim at the Cannes Film Festival, cementing Sorogoyen’s status as one of Europe’s premier directors. Conclusion

As Bestas is more than a thriller; it is a haunting meditation on what it means to belong to a land. It is a grueling, essential piece of cinema that lingers in the mind long after the final frame. For fans of high-stakes drama and meticulous filmmaking, Rodrigo Sorogoyen has delivered a definitive masterpiece of the decade.

As Bestas (The Beasts) is a 2022 psychological thriller directed by Rodrigo Sorogoyen that stands as one of the most compelling and critically acclaimed pieces of modern Spanish cinema. Expanding on the premise of his 2019 Oscar-nominated short film Madre, Sorogoyen crafts a suffocating narrative about isolation, intolerance, and the clash between tradition and modernity. "As Bestas" (The Beasts) is a Spanish-French thriller

Here is an overview of the film, its themes, and its significance.

As Bestas is not an easy watch. It is long, bleak, and often hopeless. But it is essential viewing.

Rodrigo Sorogoyen has crafted a film that asks a terrifying question: If you strip away laws, police, and social media, what are you? The French idealist thinks he is a shepherd. The Galician farmer thinks he is a king. As Bestas suggests that, in the end, we are all just animals fighting over a carcass.

For lovers of international cinema, psychological horror, or simply those who want to see what the best of modern Spanish filmmaking looks like, As Bestas is an unmissable, savage masterpiece. Do not watch it alone. Do not watch it in the dark. And never, ever turn your back on the land.

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In (2022), director Rodrigo Sorogoyen crafts a searing rural noir that transcends the "stranger in a strange land" trope to examine the visceral friction between modern idealism and ancestral survival. Inspired by the real-life disappearance of Martin Verfondern in the Galician village of Santoalla, the film explores how a dispute over wind turbines ignites a dormant savagery in a dying community. A Narrative of Two Halves

The film is notably bifurcated, shifting its focus from male confrontation to female endurance:

The First Act (The Men): Centered on Antoine (Denis Ménochet), this segment is a claustrophobic psychological thriller. It builds around "male rage" and the stubborn refusal of both the French newcomer and the local brothers, Xan (Luis Zahera) and Lorenzo (Diego Anido), to back down.

The Second Act (The Women): Following a pivotal shift, the narrative refocuses on Olga (Marina Foïs). This half abandons the "masculine bluster" for a meditative exploration of grief, stoicism, and the pursuit of justice within a system that largely ignores the rural world. Thematic Core: Gentrification and Xenophobia If you need, I can expand any section (e

Sorogoyen uses the Galician landscape as a "combat arena" to dissect complex socio-political layers:

Competing Dreams: For the French couple, the village is a pastoral Eden for organic farming. For the locals, it is a "grueling existence" they are desperate to escape via the payout from an energy company.

Xenophobia vs. Class Resentment: The hostility isn't just about nationality; it's a clash between those with the luxury of choice (urban transplants) and those trapped by generations of poverty. Visual and Directorial Style

The film’s power lies in its stifling tension and deliberate pacing:

Long Takes: Sorogoyen employs uncomfortably long takes—most notably a breathtaking single-shot dialogue in a bar—to capture the "explosive buildup" of verbal violence before it becomes physical.

Oppressive Atmosphere: Cinematographer Alejandro de Pablo utilizes a "dirt-under-the-fingernails" aesthetic, where the vast autumnal woods and gloomy interiors feel equally trapping.

The "Beasts" Metaphor: The opening slow-motion sequence of the Rapa das Bestas festival—where men wrestle wild horses to the ground—serves as a brutal foreshadowing of how human characters will eventually attempt to subdue one another. Critical Consensus

Reviewers from platforms like The Guardian and Roger Ebert praise the film as a "mature meditation on the modern world". While some critics found the final act’s transition into drama less effective than the initial thriller-like tension, most agree that the "universally strong performances"—particularly the contrast between Ménochet's "wounded-bear" testiness and Zahera's "attack-dog fury"—make it one of the most powerful Spanish films of recent years. The Beasts movie review & film summary - Roger Ebert