I wonder if Flesh has enough substance to compensate us for its unpleasantness. Fando is a boy growing up in Spain in the early days of the Franco regime, raised by his mother, about whom he has sexual fantasies. Boyle was replaced by Moira Kelly. Late in the film, it takes a stab at social relevance, with a subversive recital of the Mexican national anthem and a paradigm-shifting final scene. And you know, I loved him. The music is also well-deployed, with horror-standard rumblings alternating with ironically beautiful ballads and a Bach concerto. The ominous music and horror movie atmosphere also instruct you to be repulsed rather than aroused.
Fando is a boy growing up in Spain in the early days of the Franco regime, raised by his mother, about whom he has sexual fantasies.
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And when nothing happens, you stop being afraid of your most grotesque thoughts. The mother recruits Abdu—a physical education teacher with experience counseling teenagers—to talk to her boy. The lighting is extraordinary—purple-lit faces in front of glowing yellow portals that serve to block, rather than lead to, the opaque outside world. His sister hates herself. In turn, each household member has his or her life-changing encounter with the rat. A car crash immediately followed by the miracle of birth seems to bring them closer together.