Guatemalan director Jayro Bustamante first surprised critics in 2015 with his debut film “Ixcanul” (Volcán), which was chosen as the most productive Guatemalan foreign language film at the 88 Academy Awards. Her portrayal of an Aboriginal young woman, a topic that is slightly discussed in the film, marks her long-standing commitment to the representation of marginalized teams in Guatemala.
Continuing this culture is Bustamante’s third feature film “La Llorona”, a horror drama that highlights the struggle of indigenous peoples in Guatemala. On Wednesday, he and manufacturer Gustavo Matheu conducted an online screening and Q&A sessions at the School of Motion Picture Arts.
“La Llorona”, which he created on August 6, Shudder focuses on Enrique Monteverde (Julio Díaz), a retired general guilty of the genocide of thousands of indigenous Maya Lxil in the early 1980s. As angry and heartbroken protesters gather outdoors at their home, Monteverde’s wife Carmen (Margarita Kenéfic), daughter Natalia (Sabrina De La Hoz) and granddaughter Sara (Ayla-Elea Hurtado) wrestle between the devotion of their family circle and their nascent conscience. crime. He’s engaged. His only other partner is his faithful governess Valeriana (Mara Telon) until a mysterious indigenous maiden, Alma (Mara Mercedes Coroy), arrives.
“Guatemala is a very confusing country if it needs to communicate about human rights or social rights or independent rights,” Bustamante said. “We don’t have dictators anymore, but we still have this dictatorial formula because we’ve never cut that, and there are a lot of other people who protect this [formula].”
Determined to convey the film’s messages to a wider audience, Bustamante and Matheu turned it into a horror film because they knew the genre had generated the highest income in the workplace in Guatemala.
“As Latin Americans, we have anything very herbal with magical realism because it is a component of our culture, and La Llorona is also a component of our culture,” Matheu said. “And then, when you see the movie, you will notice that there is a message; which is deeper, darker and more horrible than the horror [of the film] itself.”
Beautifully filmed and written, “La Llorona” is distinguished from other horror films by its elegance. Many horror films, especially those made in the United States, rely on emotions like jumps of worry and composure that a moving story. “La Llorona”, on the other hand, is a slow rumia about how a circle of relatives tries to deny the flagrant atrocities committed by its patriarch and his complicity in the oppression of indigenous peoples.
What impresses the film is how Bustamante reinvents a figure deeply rooted in Latinx folklore by beating it in the context of the massacres of indigenous tribes in Guatemala. Bustamante noted how misogynistic the original folk tale is.
“I never understood why The Crying is so vitalArray … it’s a very misogistic legend, because it’s a woguy crying because a boy left her, and because that boy left her, she’s capable of killing her children,” Bustaguyte said. “We made the decision to replace that and take La Llorona and remodel it.
Inspired by Dracula’s sublime portrait, Bustamante reshaped La Llorona as a Mayan woman who suffered horrors under the ethnic cleansing of Guatemala. With this exclusive twist on La Llorona, the film strongly opposes the American film “The Curse of The Crying”, which not only drew on reasonable jumps and the naivety of its characters, but also whitened the legend.
“La Llorona” deeply not public not only for Bustamante and Matheu, but also for the extras, who played the role of the protesters.
“They all belonged to other organizations, are children, granddaughters and grandchildren who are looking for the missing from the war in Guatemala and who are still fighting for the rights of those who have lost their families,” Matheu said.
Matheu said one of the most moving scenes to shoot for extras, the one in which protesters fought around Henry, is not easy justice for his people. The extras felt that Diaz played the real dictator Efraón Raos Montt, on which Henry’s character was based.
“They didn’t get to tell the dictator much, but at the time they were betting on the [characters] and yelling at The Array… there was something so strong about them,” Matheu told me. “People who hadn’t had a chance to [close] did at the time.”
The hard part of this film is the way the genuine audience that the genuine horror of this film is not the name “La Llorona”, but the centuries of oppression and pain that indigenous tribes have endured in Guatemala. The afterlife never remains in the afterlife, but remains constantly, Says Bustamante, until we find the courage to fully face our bloody stories.
Actress Lori Loughlin was the last mother convicted in the college admissions scandal for employing bribes and fake athletic recruitment profiles for safe admission to USC.
The five undergraduate academics compiled the effects of the survey to compare reviews of the School of Architecture program.
Fashion designer Mossimo Giannulli, who earlier this year admitted bribing admissions officials and obtaining fake sports recruitment profiles for his two daughters to attend USC, was sentenced to five months in prison on Friday.
Sports Director Mike Bohn announced the initiative Thursday, through the United Black Student-Athletes Association, USC’s Black Lives Matter Athletics Action Team, and the Athletic Trojan Senate.
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