La Llorona (2019) ((BETTER))
To conclude, La Llorona is deeply embedded in colonial narratives, and has changed to accommodate new changes in society. As Chicano communities were formed in the United States, she became a way to light-heartedly connect to a wider culture that had been separated by the Rio Grande. The rise of feminism helped recast both her and Malintzin as agents reacting to male domination in a patriarchal society. However, as American media has tried to incorporate Latino audiences into the mainstream earlier issues have started to re-emerge. Domino Perez has discussed how La Llorona has been depicted in American media, and how it damages her cultural significance. In the pilot of the show Supernatural she appears as a seductress but to avoid reinforcing the sexualisation of minorities ever present in media she is literally whitewashed and loosely tied to the Irish banshee, eradicating her Latino origins. Similarly, The Cure of La Llorona (2019) in the The Conjuring franchise literally whitewashes her tale by having her be a demonic entity tormenting a white family, despite also depicting a Latino family in Los Angeles due to fears that it would only be marketable if a white family were the leads. The appropriation of La Llorona for mainstream American consumption shows that five-hundred years after the Conquest of Mexico La Llorona still feeds into power dynamics of the time which her story is being told.
La Llorona (2019)