Violence, Uncanny and Reparation in "La Llorona" (2019), by Jayme Bustamante
DOI:
https://doi.org/10.5433/1678-2054.2024vol44n2p106Keywords:
uncanny, genocide, violence, La LloronaAbstract
This article aims to analyze the reconfiguration of the figure of La Llorona in the 2019 film of the same name, directed by Jayme Bustamante, by examining the intersection of historical violence and elements of the fictional uncanny. The film presents a fictional reconstruction of a key episode in Guatemalan history: the trial of former dictator Monteverde for his crimes against the Ixil Maya population, who were decimated under his totalitarian regime. In this context, the figure of Alma, a mythical representation of La Llorona, emerges to haunt the military officer for the atrocities committed against her community. Despite his guilt, the former dictator evades legal punishment, but he is confronted by a series of uncanny occurrences that serve as a catalyst for justice, offering a symbolic response to the violence inflicted by the State. This analysis draws on the works of Rafael Cuevas Molina (2012) and Grace Bushway (2021) regarding violence and cinema in Guatemala, as well as the theoretical contributions of Rosa M. E. de Montandon (2007), Ana Lúcia Trevisan (2017), and Filipe Furtado (1980) to explore the figure of La Llorona and the construction of the uncanny in Bustamante’s film.
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