Release: 19 April 2019
What would you do if one day what you considered to be just a character in a story to scare children turns out to be looking at you from the other end of your bed? That question, in which more than one we have already thought about in our adult life is the one that the American director Michael Chaves uses as a backbone for his stellar jump of editor and special effects artist, to director of the sixth feature film of the Cinematic Universe of The Conjuring, a nod to the entire public in Latin America entitled The Curse of La Llorona.
And if by any chance, you were left with any doubt, concern or question about this movie, do not worry because then and without further ado we begin the Analysis and Explanation of this long-awaited film. Let's start!
You might believe that being part of the Universe of The Conjuring, The Curse of La Llorona could have a post-credits scene, such as to connect the universe and so on. But no, the truth is that there are no post-credit scenes, although there is a connection with the rest of TCCU.
According to reliable sources that have investigated the legend of La Llorona, the origin of it has as its root an indigenous substrate, since in most pre-Hispanic peoples the deity or spirit associated with water is in fact a woman.
When the Conquest and the Spanish Colony arrived, a means of keeping newcomers at bay was through psychological terror, in which local legends were misrepresented to instill terror in European invaders, or to justify the disappearance of a peninsular by that the natives found badly parked in their lands.
The researchers suggest that the latter may have occurred mainly in Mexico, and that history was spread throughout all the territories of the Spanish Empire, including South America, the Caribbean and the Philippines, finding support in the parallels. For example, in the Colombian Caribbean, the legend gained strength on account of the tribal beliefs that the Africans brought and that were passed from generation to generation. It was easy to associate the spirit from Mexico with their own female water spirits.
In the same way, in places where the African or indigenous component was not as broad, as in the Southern Cone, the legend was rather magnified by urban myths, based perhaps on true stories, such as women who accidentally kill their children or after a postpartum depression.
However, the gentleman, who had probably married her to maintain some kind of popular favor among the locals, soon gets bored of her and gets a lover, and not one of the other night. It was in fact a quite serious relationship, so that the mixed race upon learning, loses his mind and decides to hurt the gentleman in what hurts the most: his children.
The mestiza takes her two children and immerses them in a river until they drown, however, seeing their bodies on the shore, she regrets her crime and trapped by guilt, decides to dive into those same waters. However, guilt and remorse condemned her to wander the world trying to replace the fault committed. Although every time she tries she ends up killing more and more children with what his guilt grows and grows to corrupt his spirit completely.
The lesson, perhaps accidental that this film leaves us is that when there is a problem or difficulty, it is important to assume it, yes, it may have been a mistake, but instead of staying with our arms crossed without doing anything, it's time to get to work , verify or discard and above all, never try to hide. The best we can do is to seek help in time, not when the problem is literally uncontrollable.