As Bestas Rodrigo Sorogoyen ⇒ 【OFFICIAL】

Yet, the film forces us to look at Antoine. Is his stubborn idealism a form of monstrosity? He claims to be defending the landscape, but he is willing to sacrifice the economic well-being of an entire village for his principles. He refuses to compromise, to negotiate, or to leave. In the context of the community, his sainthood looks like arrogance. Sorogoyen refuses to pick a side. The beasts are not the brothers; the beast is the situation itself—a zero-sum game where empathy dies. Rodrigo Sorogoyen, working with cinematographer Alex de Pablo, shoots Galicia as a character in its own right. Unlike the postcard-perfect green of travelogues, the Galicia of As Bestas is oppressive. The fog sits heavy like a wet blanket. The forests are tangled and impenetrable. At night, the darkness is absolute, swallowing headlights and footsteps.

Enter the Anta brothers: Xan (Luis Zahera) and Lorenzo (Diego Anido). These are the "beasts" of the title—crude, muscular, and deeply embedded in the land’s identity. Xan, the more volatile of the two, views Antoine’s refusal not as a political stance, but as a declaration of war. To Xan, Antoine is a foreign parasite stopping the village’s only chance at prosperity. as bestas rodrigo sorogoyen

In the vast, windswept plains of Galicia, Spain, a different kind of horror movie is playing out. It doesn't feature jump scares, gothic castles, or supernatural entities. Instead, its terror is rooted in something far more primal: land, pride, and the thin, rusted wire of civilized discourse. Rodrigo Sorogoyen’s 2022 masterpiece, As Bestas (released internationally as The Beasts ), is a slow-burn thriller that burrows under your skin with the persistence of a wood tick. Yet, the film forces us to look at Antoine

The film charts the escalating conflict from passive-aggressive glances at the local bar to vandalism, intimidation, and finally, an act of horrific, irreversible violence. Sorogoyen does not offer catharsis. He offers a tragedy. The title is a clever trap. Who are the beasts? He refuses to compromise, to negotiate, or to leave

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.