We Are Animals (2013)

We Are Animals takes the familiar ache of the 1980s AIDS era and refracts it through an alternate-history lens, turning private fear into something mythic, urgent, and strangely empowering. Dominic Haxton gives the film a raw, fable-like intensity—part political thriller, part intimate character study—where the tension isn’t just in the streets but in the quiet moments of a man learning what he’s willing to become. Daniel Landroche anchors it with a performance that feels exposed and human, while the supporting cast adds bite and unpredictability to a world that’s always on the verge of snapping. It’s not a comfort watch and its allegorical style may not click for everyone, but if you want sci-fi drama that uses genre to say something bracing about survival and identity, this one earns your time.

We Are Animals is clearly aiming for a bold, allegorical mash-up of AIDS-crisis grief, queer identity, and dystopian rebellion, with a heightened “fable” tone rather than strict realism. If you’re expecting tight sci-fi worldbuilding or a clear alternate-history plot with satisfying political logic, you may find it more impressionistic than coherent, leaning on symbolism and mood over explanation. The emotional intent is sincere and the premise has bite, but the storytelling can feel opaque and heavy, which may distance viewers who want grounded character development and clean narrative payoffs. This is best for patient audiences open to metaphor and discomfort; if you want a straightforward drama or a conventional sci-fi thriller, it may test your tolerance quickly.