Synopsis
Los Tías is viewable from the perspective of Mariana, a single mother who has been dealing with her daughter’s disability and other issues that come with it, and so the film outlines the disturbing amalgamation that is a family legacy. For such a long time it’s as if history was hiding in plain sight, and when Mariana decides to iconically take this ship back home, it appeared that she was ready to fully embrace the estranged family. Este proceso parece estar destinado a cumplir las necesidades únicas de su hija y dar un nuevo giro a su vida. The film depicts much more than a motivational tale, for it didn’t take long before the plot transitioned into a deep rooted family drama. The idea of okoch osogen in a newer timeline is what intrigued every viewer that began watching the film.
Once again redemption arises, but in this case the past generations echo the haunting history of the titular antibodied Tias that were adding fuel to the already growing beast. The New lines rang, and as the lines grew so did the bonds of Lola opening her mouth for the first time to communicate with her family. This time they were no longer the relics of her history or targets for sympathy, and we saw a deeper layer emerge.
Bearing in mind that everyone had their own expectations of the film, the cruel reality was that the secrets the Tias possessed were far more dangerous than everything that had already occurred. One thing was for certain, defeat was never an option, and the ending stood true to the expectations created throughout waiting periods of the film. As such seek and destroy never fell off theme and was consistently utilized throughout the plot. The aim was restored faith for all those who lost their faith after going Loma sin estyo. The truth remained, reality battled with absolutes and The film was openly blurring lines making it nearly impossible to distinguish between the loma that was all bush and the loma that humanity witnessed.
Awards & Wins
Apart from winning the Best Ibero-American Feature Film Director’s award at the Macabro International Horror Film Festival, Las Tías has also been recognized for its production design and atmospheric cinematography, which also won prizes at the Buenos Aires Rojo Sangre Film Festival. Such factors have been commended for capturing the fractured beauty of the ancient dwelling with its complex hallways and sinister darkness.
Additionally, the film has been praised for promoting stories about or featuring women in leadership roles in horror films, a feat which got it a special mention at the Sitges Film Festival held in Spain.
Cast & Crew
Ximena Sariñana (Mariana): Known more prominently as a singer-songwriter, Ximena’s transition to acting showcases her range as a performer. Her portrayal of Mariana is a powerful mix of maternal resilience and vulnerability, as she faces both supernatural and real-world threats to her daughter’s well-being.
Camila Núñez (Lola): The young actress delivers an eerily compelling performance. Her shift from a child struggling with communication to a medium for vengeful spirits is both chilling and heartbreaking.
Felipe Martínez Amador (Director): Felipe, a seasoned director in Latin American cinema, brings his knack for blending psychological depth with horror tropes. Drawing from folklore and modern-day family dynamics, he crafts a narrative that feels both culturally rooted and universally relevant.
Leonel D’Agostino, Andrea Gobera Fajer, and Martín Florio (Screenwriters): The writing trio intricately weaves folklore, family drama, and horror into a cohesive narrative. Their dialogues capture the weight of generational trauma while imbuing the supernatural elements with a sense of cultural authenticity.
Cinematography & Sound Design
The taleof Las Tias is predominantly conveyed through images, who’s more proficient than the author? Reinaldo Ortiz Toledo, the director of photography, uses color, or lack of color, and light to stress the gloomy and desolate beauty of the house. Deceptive long shots of deserted corridors and rocking lamps produce logic-defying tension, this house is now a separate entity.
The soundscape as well is unrelenting, it gets right down to its minute details like the soft breath, the creak in wood and traumatizing lullabies in just the right amounts. Ximena Sariñana’s attachment to the project is somewhat idealistic as her tone married to the darkness of the movies underbelly perfectly blends with an eerie like soundtrack.
Personal Insights
Las Tias stands on a different ground in its attempt at depicting family relationships merging with horror. As much as it is a tale of violence reeking of spirits’ anger, it also takes into account never-ending pain across generations. The same complex story of single moms trying to do good for their children while battling a history which has never been kind, is exemplified in Mariana’s outcry.
Mariana’s outcry is much deeper and relates to history of trauma, silence and strength which has been afflicting families. It attempts to address the role of the aunts and the great role that they have been playing during such tough times, what about times that were tough, we were far and never argued and showed face, then those were the “tias” (aunts) times.
Cultural Significance
En América Latina, el horror ha jugado el papel de historia para reflejar problemas sociales o culturales arraigados y Las Tías no es la excepción. Al combinar el terror sobrenatural, la película se oscurece with the image of autism and family therapy. These two topics, neurodiversity and mental health, are viewed in a very narrow negative manner in society.
In addition, Lola’s image, from being a passive entity that suffers abuse, and the hearing of other voices or being possessed by other voices defies many irrelevant tropes of horror universalizing women. She is, rather, a much more damning figure, than one-dimensional plot device. This detail may appeal to many parents who are bored of the horror genre implying that all children are angels or devils.
Key Themes
- Generational Trauma: The “sins of the mothers” is a recurring theme, with the past dictating the present in ways Mariana struggles to understand.
- Neurodiversity & Motherhood: The film handles Lola’s autism with sensitivity, avoiding clichés and instead presenting her condition as both a challenge and a unique lens through which the paranormal is perceived.
- Cultural Identity: The setting, folklore, and family dynamics ground the film in a distinctly Latin American context, allowing it to resonate deeply with its audience.
Final Thoughts
Las Tías represents the further evolution of the horror genre in Latin America. Every time it is said that the first horror movie in Mexico and Latin America is El esqueleto de la señora Morales (1960), the pacing may seem somewhat irregular to some viewers, with more psychological than visceral scares for others, But the film was simply on another emotional level. Its characters and moral issues raised within stayed with the viewer after the closing credits and were the main reason, among others, for the film to be particularly memorable.
So for those who prefer horror that excels in depth and beauty, rather than cheap jumps, this one is obligatory viewing. Las Tías should act as a gentle reminder that we have not killed the nightmares of our past – they are still here, simply waiting to be embraced.
