“The Flesh People” follows Ricky and Geraldine, unlikely New York City roommates who run macabre money-making schemes by performing underground surgery and serving human meat to unsuspecting customers.
The visuals of “The Flesh People” stand out. This isn’t only from writer-director Keshav Srinivasan and cinematographer Emmet Luciano, but also from production designer Yulanda Yo-Rong Shieh. Large portions of the film take place in just a single setting: a rundown apartment that’s littered with random objects and bizarre drawings on the walls. The warm color palette and vignette-style shots emphasize this strangeness, making the space feel almost otherworldly despite taking place in a very ordinary setting. Luciano adds layers to the environment by switching between wide-angle and close-up shots, often remaining static before panning or zooming to emphasize character movements.
Then, there are the constantly playing musical compositions from Vova Faust. While ambient noise — rain, passing cars, A/C hums — fills the dead air, it’s Faust’s score that is amplified more often than not. Pulsing rhythms add tension to scenes of dialogue and high-pitched electronic tones match the absurdity of the imagery.
While the title promises flesh, the first third of the 103-minute runtime is devoid of any carnage. Instead, it’s mostly made up of nonsense. Rather than diving directly into the dark aspects, Srinivasan fully “fleshes” out the characters. Jorge Carrión Álvarez (Ricky) and Louise Heller (Geraldine) show off their range while delivering long-winded lines of gibberish. Álvarez plays an awkward character, which makes sense, because he’s in a very awkward situation. As the narrative progresses, his delivery becomes much more confident. Heller is the opposite, portraying a very outward personality. Whether she’s full-blown sobbing or delivering poetic lines, her presence is constantly theatric. Because of their effectively strange performances, the ensuing events become somewhat believable.
Also appearing are Johnny Zito (Clarence), Len Bellezza (Tom) and Steve Gamble (Nick). Zito is a brief but funny “antagonist” that acts as a catalyst for extremity. Bellezza and Gamble inject much-needed buddy humor as a pair of NYPD officers.
That being said, the film certainly delivers on its premise. Following the weird conversations between Ricky and Geraldine, even weirder scenarios occur. A practical approach is utilized to show off a variety of bloody gore: decapitations, torn-off limbs, exposed guts and much more. The special effects aren’t always perfect, but they blend well with the raw look of the movie itself.
The core theme of “The Flesh People” is desperation. People will go to extreme lengths to get what they need, whether that be food, money or happiness. Ricky is a medical school dropout. Geraldine is a failed actress. As the characters grow more and more insatiable for all of these desires, the messaging becomes clear. Srinivasan is more focused on the darkly comedic aspects behind it all, but this thesis is present nonetheless. Through it all, viewers aren’t supposed to “like” these characters. They’re committing atrocities beyond repair, making them unredeemable by the time the credits roll. The film acts as a testament to the lengths people will go for personal satisfaction rather than a conventional story with individuals you root for.
“The Flesh People” presents a dramatic descent into desperation. The bare-bones, unfiltered approach makes this bloody disaster both comedic and chilling.
Rating: 3.5 out of 5
