Films allow artists, writers, and actors to combine their talents into a visual narrative that instills essential lessons in the audience. Two such films, Nuestras Madres and La Llorona, tackle the complex subject of the genocide in Guatemala. Nuestras Madres follows a forensic anthropologist named Ernesto on his journey to uncover the truth surrounding his deceased father. In contrast, La Llorona follows the family of General Enrique Monteverde, a fictional representation of real-life dictator Efran Ros Montt, as they become cursed by a ghost from the general’s past. Together, they cover the aftermath of the conflict, exploring the situations of both the survivors and perpetrators. In the movies La Llorona and Nuestras Madres, the filmmakers argue …show more content…
In addition, when answering the question, she never looks at Ernesto, keeping her eyes on the ground, reinforcing that she has something to hide. Ernesto’s mom represents the older generation, who would prefer to forget the past due to the emotional ties they have with it, which only instills Ernesto, who represents the younger generation, with the desire to remember. Likewise, in La Llorona, immediately after Enrique Monteverde's trial, his daughter, Natalia, and his wife, Carmen, argue over whether the allegations brought against Enrique Monteverde are rooted in truth (Llorona 25:12). The filmmakers use a wide shot and a white color scheme to emphasize the emotionless quality of the scene, which also renders Carmen’s explanations empty. The generational tension caused by Natalia’s questions sows the seeds of doubt in Carmen’s mind, eventually leading to her realization later in the film. In this scene, instead of generational tension pushing the younger generation to remember, it forces the older generation to see the truth, turning them away from the notion of