The Curse of the Weeping Woman is a supernatural horror film that was released in 2019. Directed by Michael Chaves and produced by James Wan, this movie is based on the Mexican folklore legend of La Llorona. The story follows a social worker named Anna Tate-Garcia, who becomes entangled in the curse of La Llorona while investigating a case involving the safety of two young boys. The legend of La Llorona, which translates to "The Weeping Woman," dates back hundreds of years and has been passed down through generations in Mexican and Latin American cultures. According to the legend, La Llorona is the spirit of a woman who drowned her children in a fit of rage after being rejected by her husband. Overwhelmed by guilt and grief, she wanders the Earth, crying and searching for her lost children.
The sacred appears in myths, sounds, ritual activity, people, and natural objects. Through retelling the myth the divine action that was done “in the beginning” is repeated. The repetition of the sacred action symbolically duplicates the structure and power that established the world originally. Thus, it is important to know and preserve the eternal structure through which man has life, for it is the model and source of power in the present.
In Brahmanic Hinduism a saṃskāra sacrament is a sacred act that perfects a person and that culminates at the end of a series of saṃskāra s in a spiritual rebirth, a symbolic second birth. In Brahmanic Hinduism a saṃskāra sacrament is a sacred act that perfects a person and that culminates at the end of a series of saṃskāra s in a spiritual rebirth, a symbolic second birth.
Overwhelmed by guilt and grief, she wanders the Earth, crying and searching for her lost children. It is said that encountering La Llorona is a sign of imminent death or misfortune. In the movie, Anna crosses paths with La Llorona when she visits the home of a troubled mother suspected of child endangerment.
Manifestations of the sacred
The sacred appears in myths, sounds, ritual activity, people, and natural objects. Through retelling the myth the divine action that was done “in the beginning” is repeated. The repetition of the sacred action symbolically duplicates the structure and power that established the world originally. Thus, it is important to know and preserve the eternal structure through which man has life, for it is the model and source of power in the present.
The recognition of sacred power in the myth is related to the notion that sound itself has creative power—in particular special, sacred sounds. Sometimes these sounds are words, such as the name of god, divine myth, a prayer, or hymn; but sometimes the most sacred sounds are those that do not have a common meaning, for example, the Hindu om, the Buddhist oṃ maṇi padme hūṃ, or the Jewish and Christian “Hallelujah.”
Closely connected with verbal expressions of sacred power are activities done in worship, in sacraments, sacrifices, and festivals. Part of the importance of religious ritual is that in the realm of the sacred all things have their place. In order for human existence to prosper (or even continue) it must correspond as closely as possible to the divine pattern (destiny, or will). Different religious traditions have different theological and philosophical formulations of the meaning of sacraments. In Roman Catholic Christianity, a sacrament is “an outward and visible sign of an inward and invisible grace.” In Brahmanic Hinduism a saṃskāra (sacrament) is a sacred act that perfects a person and that culminates at the end of a series of saṃskāras in a spiritual rebirth, a symbolic “second birth.” In both of these cases, the sacred action establishes the relation between the divine and human worlds.
Other sacred activity includes initiation, sacrifice, and festival. Initiation rites among nonliterate societies both expose and establish the world view of the participants. The initiate learns the eternal order of life as proclaimed in the myth. Life is viewed essentially as the work of supernatural beings, and the initiate in this ritual is taught this secret of life and how to gain access to divine benefits. The initiate learns the tabus and is often given a sacred mark—e.g., circumcision, tattoo, or incisions—to express physically that he is part of the sacred (original) community. In other religions, such as Christianity, Buddhism, and Hinduism, an initiate to a special holy (often monastic) community within the larger religious community is designated by a change in name and wearing apparel, denoting his special relation to the sacred.
In festivals and sacrifices two religious functions are often combined: (1) to provide new power (energy, life) for the world, and (2) to purify the corrupted, defiled existence. Religious festivals are a return to sacred time, that time prior to the structured existence that most people commonly experience (profane time). Sacred calendars provide the opportunity for the profane time to be rejuvenated periodically in the festivals. These occasions symbolically repeat the primordial chaos before the beginning of the world; and just as the world was created “in the beginning,” so in the repetition of that time the present world is regenerated. The use of masks and the suspension of normal tabus express the unstructured, unconditioned nature of the sacred. Dancing, running, singing, and processions are all techniques for re-creation, for stimulating the original power of life. Ritual activity moves power in two directions: (1) it concentrates it in one place, time, and occasion, and (2) it releases power into the everyday stream of events through its self-abundance—the primal vibration reverberates throughout existence. The new energy dispels the old, depleted, polluted energy; it cleanses the constricted, clogged, hardened channels of life.
One of the most important forms in which man has access to the sacred is in the sacrifice. The central procedure in all sacrifices is the use of a victim or substitute to serve as a mediator between the sacred and profane worlds. The sacrifice (Latin sacri-ficium, “making sacred”) is a consecration of an offering through which the profane world has access to the sacred without being destroyed by the sacred. Instead, the sacrificial object (victim) is destroyed in serving as a unique, extraordinary channel between these two realms. In sacrificial rites it is important to duplicate the original (divine) act; and because creation is variously conceived in different religious traditions, different forms are preserved: the burning or crushing of the “corn mother,” the crushing of the soma stalks, the slaughter of the lamb without blemish, the blood spilling of a sacred person, such as the firstborn.
Sacredness is manifested in sacred officials, such as priests and kings; in specially designated sacred places, such as temples and images; and in natural objects, such as rivers, the sun, mountains, or trees. The priest is a special agent in the religious cult, his ritual actions represent the divine action. Similarly, the king or emperor is a special mediator between heaven and earth and has been called by such names as the “son of heaven,” or an “arm of god.”
Just as certain persons are consecrated, so specific places are designated as the “gate of heaven.” Temples and shrines are recognized by devotees as places where special attitudes and restrictions prevail because they are the abode of the sacred. Likewise, certain images of God (and sacred books) are held to be uniquely powerful and true (pure) expressions of divine reality. The image and the temple are, in traditional societies, not simply productions by individual artists and architects; they are reflections of the sacred essence of life, and their measurements and forms are specified through sacred communication from the divine sphere. In this same context, natural objects can be imbued with sacred power. The sun, for example, is the embodiment of the power of life, the source of all human consciousness, the central pivot for the eternal rhythm and order of existence. Or, a river, such as the Nile for the ancient Egyptians and the Ganges for the Hindu, gave witness to the power of life incarnated in geography. Sacred mountains (e.g., Sinai for Jews, Kailāsa for Hindus, Fujiyama for Japanese) were particular loci of divine power, law, and truth.
The recognition of sacred power in the myth is related to the notion that sound itself has creative power—in particular special, sacred sounds. Sometimes these sounds are words, such as the name of god, divine myth, a prayer, or hymn; but sometimes the most sacred sounds are those that do not have a common meaning, for example, the Hindu om, the Buddhist oṃ maṇi padme hūṃ, or the Jewish and Christian “Hallelujah.”
Unbeknownst to Anna, the mother has unintentionally summoned the vengeful spirit after encountering a cursed artifact. As La Llorona targets Anna's own children while frantically searching for her own, Anna must find a way to protect her family and break the curse. The Curse of the Weeping Woman is filled with suspenseful moments, jump scares, and eerie visuals that create a chilling atmosphere. The film delves into themes of motherhood, guilt, and the consequences of one's actions. The audience is taken on a terrifying journey as they witness La Llorona's relentless pursuit and the lengths Anna goes to protect her children. While the movie received mixed reviews from critics, it was generally praised for its effective scares and its atmospheric setting. The Curse of the Weeping Woman offers a fresh take on the haunted house genre while drawing inspiration from a rich and haunting mythological tradition. Overall, The Curse of the Weeping Woman explores the terrifying legend of La Llorona and brings it to life on the big screen. It serves as a reminder of the power of folklore and the enduring impact of ancient tales on modern storytelling. Whether one believes in the curse or not, this movie is sure to leave audiences with an unsettling feeling and a renewed appreciation for the power of a good ghost story..
Reviews for "The Weeping Woman: A Ghostly Figure in Hispanic Culture"
1. Sara - 2 stars
I was very disappointed with "The Curse of the Weeping Woman." The movie was filled with clichés and predictable jump scares. The storyline was weak and lacked depth. The characters were one-dimensional and the acting was subpar. Overall, it felt like a generic horror film that did not bring anything new or creative to the genre. I was expecting a lot more from a movie with such a chilling title, but sadly, it fell flat.
2. Mark - 2.5 stars
"The Curse of the Weeping Woman" had all the potential to be a great horror film, but it failed to deliver. The scares were cheap and relied heavily on jump scares, which became repetitive and predictable after a while. The plot was confusing and poorly executed, leaving me feeling confused and disconnected from the story. The characters were underdeveloped, making it hard to care about their fates. Overall, the movie lacked depth and failed to leave a lasting impression.
3. Jessica - 1 star
I found "The Curse of the Weeping Woman" to be a complete waste of time. The plot was muddled and confusing, and the scares were ineffective. The acting was wooden and unconvincing, making it hard to connect with the characters. The movie felt like it was trying too hard to be creepy, but it came off as cheesy and overdone. I would not recommend this film to anyone looking for a good horror movie experience. It was a major letdown.