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The decrepit Monteverde, embracing his senility for all its worth, claims that he was “trying to build a national identity for his country,” but the testimony is too damning for the verdict to be in doubt.
A veiled, indigenous woman sits at a microphone in front of a media-filled tribunal and recounts how Monteverde’s forces destroyed her village and raped its mothers and daughters during the early 1980s, a period of time when the government murdered up to 33% of the Mayan-Ixil population in order to assure control of their land.
The situation is soon made clear: Monteverde, a fictional stand-in for merciless dictator Efraín Ríos Montt, is finally being tried for his crimes against humanity during the Civil War. The women recite an incantation to ward off the waiting threat, while the men smoke cigars and try to huff their way out of trouble. The women sit in one room and the men in another - hints of a patriarchal divide that will soon become considerably more pronounced - but they all tremble with fear. The film begins with the family of retired General Enrique Monteverde (Julio Diaz) clustered together and preparing for an invasion of some kind as if their Guatemala City mansion were the fortress of Helms Deep.
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This time, however, that residual pain comes for the guilty, and the guilty know full well it’s coming for them.
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Much like Bustamante’s masterful “Tremors” (and “Ixcanul” before that), “La Llorona” is a quiet movie that shudders with spiritual trauma. 'The White Lotus': Everything You Need to Know About the HBO SeriesĢ020-2021 Network TV Shows: What's Renewed, What's Canceled, What's in Limbo Palm Springs Calls Off 2022 Festival: Other Cancellations as Hollywood Braces for Omicron
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New Movies: Release Calendar for December 31, Plus Where to Watch the Latest Films While anyone who subscribes to Shudder - the horror-focused streaming platform set to host “La Llorona” later this year - is already well-aware of what the genre can do, it’s still tempting to imagine that someone with a narrower appreciation for “scary movies” might click on Bustamante’s work in search of cheap thrills, only to be caught in the grip of a wickedly entombed domestic chiller that flattens out the usual jolts until myth and memory bleed together and the past takes its revenge on the present. Aside from their shared roots in the same piece of Latin American folklore, these two films couldn’t have less in common one is a slow-burn séance for the victims of a recent genocide, and the other is a PG-13 studio programmer that was only produced because of its ridiculous margins ($122 million in ticket sales against a $9 million budget is a job well done).Īnd yet, maybe it wouldn’t be the worst thing in the world if critics let their readers assume a more direct connection between these wildly different visions of death.
Reviews of Jayro Bustamante’s “ La Llorona” (“The Weeping Woman”) are obligated to mention that this quiet and trembling phantasmagoria about the ghosts of the Guatemalan Civil War has virtually nothing to do with Michael Chaves’ “The Curse of La Llorona,” the schlocky jump-scare machine that Warner Bros.
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