La llorona

La Llorona is far from the film I expected it to be. Going in to what I thought was a horror, I soon realized was more of a drama, and a political drama at that. That isn't to say that is a problem with the film, but a very different take on the infamous story of La Llorona which has been done quite a few times before. The biggest problem with this film is the pacing. Its slow for the majority of its runtime, and although it's only about 90 min long, it feels a lot longer. The film also feels like it doesn't get to the point fast enough, dragging out its story as best as it can to make the film a decent length. The actors are fine, nothing truly stand out about them, but they make a decent cast. The cinematography is often unique, interesting, and even mesmerizing at times- which is refreshing to see throughout the film, as it takes such a new angle to a classic tale. Parts of the film can feel played out, or simply obvious, but there are decent moments of suspense towards the beginning and end of the film, and altogether, it wasn't too bad. In the end, La Llorona may not be deserving of the International film Oscar, but it does prove to be a unique and brutal political drama with some good moments.

My Rating: 6/10.

The plot summary on IMDb doesn't do this film justice. It's a slow-burn drama about the family of a retired Guatemalan general on trial for war crimes. His daughter, an intelligent and compassionate medical doctor, is finally reckoning with what her father participated in, and her moral struggle expands to the rest of the family. At the same time, the general's sins are coming home to roost in a very literal way.

There is an element of horror here, but I was much more enthralled by the family drama of the piece. Unfortunately, it does copy one thing from other thought-provoking horror films and fails to fully stick the landing. Still a wonderful film and one that I'll think about for a long time to come. Brilliant cinematography and sound design, see it in a well-equipped theatre if you can.

In his third film, Guatemalan maverick director Jayro Bustamante has crafted a modern-day story in the backdrop of the 1982 genocide of indigenous Mayan population under dictator Efraín Ríos Montt's command. The story is of an ageing dictator (based on Montt) and his family of wife, daughter and granddaughter, that finally encounter people's wrath. Told from the viewpoint of the dictator's family members, it could have been a pretty straightforward political story of repercussions, atonement, justice and truth finally catching up. And there was enough scope in the story itself to do both -- firmly ascertain an anti-fascist political stance, and yet portray the dictator and his family with adequate empathy. But Bustamante chose to package this inside the popular mythological horror story of 'the weeping woman', exactly to achieve what - I am not too sure.

The film is beautifully shot, edited and acted. There was adequate suspense and thrill in the film's more horror-ish sequences. The blue-lit nighttime shots, tracking shots in the dark, long dark hair, overflow of water, long creepy stares, jump scares with increasing background sounds, candle-lit invocations of spirits -- all sorts of horror film cliches were used. Rather than adding anything to the story (apart from a bit increased viewership of some horror-film enthusiasts who would ultimately be disappointed), I personally felt that these kind of reduced the film into something less serious and less sincere. The film starts off excellently, but loses its focus after around an hour. To sustain its horror movie potential, the story needed some sort of unpredictability. But this is history, and we all know how histories of this nature finally turn out. There is no suspense in justice. One can only sensationalize it.

6.5/10

A Llorna is more of a political drama rather than a traditional horror film. The problem with establishing a principle character as a convicted genocidal former dictator is the from the begging of the story it's very difficult to care what happens to him.

The plot goes some way to redressing this balance by placing three generations of women as the central characters.

The story is told from the mothers perspective. Trapped in the dictator's company they represent different levels of ignorance, innocence and hope. The wife of the despot comfortable with the political lifestyle, wilfully dismisses any suggestion of her husband's improper behaviour.

The daughter, a professional healer bound by her service and Hippocratic oath puts her in conflict with her parents and protective of her own daughter. The granddaughter, the innocent, unable to understand why people are saying such horrible things about her kindly grandfather.

In these three characters we are offered different levels of ignorance all the while the real victims scream and protest, heard but rarely seen.

Into this scenario arrives Llorona herself and it's through her that the spirits communicate and seek their retribution.

This is a subtle tale and one that some might find slow going. The horror lays not in the actions of the dead, but the injustice of the living.

A pretty bold vision on one of the most well-known figures in Latin American folklore. Jayro Bustamante's 'La Llorona' smartly reimagines the folk legend as political horror story. Unfortunately, most of its conflicts and characters are underdeveloped with the slow-burn pacing drags and the horror elements are very minimal, making it rather difficult to relate to or become attached to the whole story.