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Presenting: ‘The Boulet Brothers’ Dragula: Titans’ Golden Ghoulie Awards

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Welcome, prized plebeians and titular Titans, to the inaugural Golden Ghoulie Awards™! The first season of The Boulet Brothers’ Dragula: Titans has come to a close and featured nine episodes of lewks, kooks, and truths to scrutinize and glamorize. Equal parts The Real HouseUglies of Hades, a lighthearted hang with old friends, and a deadly battle for drag supremacy – Titans juggled more tonal shifts than the Shudder home page. In honor of yet another phantasmagoric buffet of the senses led by the nightmarish Boulet Brothers, Horror Press thought it’d be horrific to hand out nonexistent awards – courtesy of us – to the Monsters and moments that made this season special. Join us in your Samhain best as we make one final descent into the Underworld. As an unfriendly reminder, if any altercations relating to love triangles break out during the show, all parties will be escorted from the premises and cast back into oblivion.

Best Individual Looks:

Granny hag from hell. Gorgeous ladies with big naturals. Wigless. A lewd homage to the Disney Channel. No, I’m not reading from a discarded flyer for the Boulet Brother’s 2022 Halloween Ball. These are descriptors of just some of the legendary artistry our Titans brought to the main stage this season. Famed artist H.R. Giger once said, “My paintings seem to make the strongest impression on people who are, well, who are crazy,” and our eyeballs were absolutely batshit for the visual splendor that made up the Titans floor shows. We’d be remiss to defibrillate the Golden Ghoulies without first acknowledging all the hard work put in by every single Titan to cross the threshold. So, in order of disappearance, these are the Best Individual Looks each Titan served this season.

Yovska: Pumpkinhead (Halloween House Party) – We didn’t get to see much from our favorite plushy hellion this season, but Yovska came out swinging in this sultry Nightmare Before the Strip Club number. Criticized in their original season for not allowing the personality of Yovska to shine through the cuddly terror of their costumes, this time, Pumpkinhead served body and face. Remain on guard because they’ll distract you with their pumpkaboobs before they sink their teeth in you.

Runner Up: Teletubby Toilet Bowl (Premiere episode entrance) – The Golden Ghoulies wouldn’t be complete without mentioning this meme-worthy moment. Whatever Yovska’s intention, Kendra – through her almighty shade – made sure we will forevermore associate Yovska with that cursed children’s show and the porcelain throne.

Kendra Onixxx: Frankenstein (Halloween House Party) – Grace Jones made an appearance at the party via Kendra’s 1980s-inspired Frankenstein costume. Despite coming across as low-key compared to the competition, the reference is unmistakable, and the vibes are right. She also remained faithful to the 80s spirit with not one but ten (10) coke nails!

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Runner Up: Grandmother Bitch (Science Fiction [Horror] Double Feature) – Confoundingly unhinged, this campy moment gave Club Libby Lu realness. Hold on to your wigs because there will be more on this infamous lewk later in the show.

Erika Klash: Space Hydra (Science Fiction [Horror] Double Feature) – Lay back, and feast as this kaiju guides you through new and exciting dimensions. Erika broke free of her cutesy couture chains and propelled into the stratosphere with this DayGlo Ghidorah experience. Moving on from gel pens to prosthetics and puppetry, Erika entered Titan territory. Artpop, indeed.

Runner Up: The Bat (Halloween House Party) – Spoopy when it counts, Erika’s flittermouse had hair and carnal gore in all the right places. If it were not for her pairing with a literal question mark, perhaps the look would have gotten its due.

Abhora: Angel Eater (Science Fiction [Horror] Double Feature) – Abhora may rarely understand the assignment (and that’s why we love them), but this haute couture original proved that sometimes we need to get on their level. When you can’t figure out if it’s a dove-eating Final Fantasy boss or something from a Paris runway, it’s both, and it’s automatically iconic – we don’t make the rules. Abhora could Ozzy Osbourne, but Ozzy could never Abhora.

Runner Up: Spiral Witch (Revenge of the Witch) – It’s their woods, and we’re just following a trail of candy in it. Much like Miss Grandmother Bitch, stay tuned for more on this one.

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Melissa Befierce: The Fabulous Predator (Science Fiction [Horror] Double Feature) – If you’ve ever wanted to see the Predator in The Fifth Element serving See You Next Tuesday, Melissa worked it out, baby. Her custom bodysuit was meticulously stoned for tha’ gawds, and her lipstick was on point(ed teeth), all while remaining ultra-deadly. To borrow directly from her name, the lady was fierce as fuck.

Runner Up: GLOW Diva (The Ugly Ladies of Wrestling Rematch!) – This 1980s butch-femme fantasy is something only Melissa Befierce could pull off. A true glamazon in a ring of Uglies. Watch out, Sigourney!

Astrud Aurelia: The Kraken (Seamonsters of the Depths) – An ultimate mashup of their animal-infused drag and the show’s high expectations, Astrud’s Kraken had Davy Jones’ locker room on its knees. It was a titanic glow-up from their would-be Season 4 “Ghostship Glamour” challenge look (seen via Instagram) and highlighted their uncanny ability to mix fantasy creatures with reality.

Runner Up: Primordial Ooze (Science Fiction [Horror] Double Feature) – All eyes were on Astrud with this lewk, and that’s how they like it. Resembling something you wouldn’t want to find under your bed or in a dirty kitchen, they landed a laser-sighted bullseye on the challenge.

Evah Destruction: Sea Witch (Seamonsters of the Depths) – Evah’s hairy-armed Ursula blew all the fish out of the water. The curtain of her bioluminescent shell pulled back to reveal a sinister beat, and Evah utilized her thespian skills to sell the high drama. It was, perhaps, this Titan’s finest moment of the franchise. Is there still time for her to film a role in the upcoming live-action The Little Mermaid?

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Runner Up: The Devil (Halloween House Party) – Before Evah’s Sea Witch, there was Evah’s Devil. Yet another personal best, guest judge Cassandra Peterson told no lies when she proclaimed this should be Evah’s signature look.

HoSo Terra Toma: Sadako (Horror Icons Reanimated) – Leave it to HoSo to gift wrap Sadako from Ringu in celluloid and make it fashion. Everything about this look worked, from the analog TV helm to the slimy and tangled hair to the performance itself. They made this character fresh and – most importantly – drag while remaining distinct from the rest of their body of work.

Runner Up: Prom Queen (Zombie Prom) – If one of the countless Resident Evil iterations filmed a prom scene, this creature would be there. Plus, seeing HoSo in “basic bitch” drag was priceless.

Koco Caine: Elf Barbarian (Dungeons and Drag Queens Two: Into the Underdark) – Koco had her fair share of large (and busty) props this season, but none rocked the set more than her Elf Barbarian and axe. In true Koco fashion, the look and performance fused femme fatale with comedic timing, and the detailing ensured her character would be every gay boy’s first pick for the D&D campaign. Gimli is quaking.

Runner Up: Black Widow (Grand Finale) – This terrifying creature was perhaps the best embodiment of filth, horror, and glamour during the final floor show of the season. Nightmare fuel that makes you horny? Classic Koco.

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Victoria Elizabeth Black: Pumpkinhead II (Halloween House Party) – She saved the best for…first? While Victoria’s prosthetic work is out of this Underworld, her first lewk of the season utilized her skillset while leaning more toward traditional drag than “Universal Studios.” From the top of her removable scalp to the bottom of her pumpkin-gore skirt, it was ooey-gooey perfection. It became immediately apparent that VEB was back, and the granny hag from hell mouth prosthetic came with her.

Runner Up: Prom Queen (Zombie Prom) – It was a treat to see a softer side of Victoria pre-zombie bite, and the aftermath was expectedly repulsive. Truly the best of both worlds.

Top 3 Floor Shows:

Drag as an art form is constantly in a cycle of reinvention. It has been around far longer than we realize and will continue to evolve far beyond our wildest imaginations. The Boulet Brothers’ Dragula acknowledges and nurtures this concept, providing alternative drag artists a platform where there once was none. And while we eat up the backstage drama and wait with bated breath for the infamous Exterminations, the otherworldly floor shows keep us coming back for more. Old school and new-age drag form a symbiotic bond on the main stage, mixing ballroom with experimental, glamour with gore. Titans resurrected some old favorites and gave us new surprises. These are the Top 3 Floor Shows of the season.

  1. Zombie Prom: Most symbolic of the fusion of old and new, this floor show allowed us to see a different side of our Titans before tearing their bodies asunder as flesh-eating undead. And while we may never want to see Abhora presenting as a female cheerleader again, some were genuinely breathtaking. Then, when the shit hit the fan and their minds went feral, the show’s editors did a fantastic job splicing together the transition and letting carnage and chaos reign.
  2. Revenge of the Witch: A curse of baldness, a little bit of Project Runway, and a campy lip sync – this floor show had it all! It’s always a treat to see individual takes on the classic iconography of the witch, and this time our whimsical wenches had to design a pair of magical pumps to wear while lip-syncing the bog down boots. Thematically, we saw a few witches exact some sweet revenge, and homosexually, we witnessed the gayest floor show of the franchise. Werk!
  3.  Horror Icons Reimagined: Another take on a prior season’s challenge; this one is oddly personal. As horror lovers, we all have our favorites, and here we can see who or what might inspire the Titans and their work. This go-around, they were tasked with recreating a signature moment from their chosen icon, and the results were killer. A special shout-out goes to Koco Caine for going full-meta and performing as the third Boulet Brother.

Top 3 Fright Feats:

“On Titans, we’re all Erika” – HoSo Terra Toma

Fear: It lurks beneath the surface. We feel it when we catch a shadowy figure in our periphery. We experience it when we forget our charger at home. We see it in the eyes of the woman selling discount paella at the local dive bar. It drives our decisions and alters the course of our lives. Unfortunately, it didn’t create any lasting effects on this season of Titans, in which everyone had to participate in the weekly Fright Feat before continuing the competition. But, in the end, the fear of expulsion forced them to embrace their inner Extermination Queen, Erika Klash, and eat pig brains. In the spirit of fear, here are the Top 3 Fright Feats of the season.

  1. Burn the Witch: Literally and figuratively the spiciest of all, this Feat saw the tempestuous Titans set their mouths ablaze by eating some of the hottest foods on the planet. The most sincere test of wits and physical endurance was undoubtedly the most challenging and appropriately came with higher stakes. The winner (Erika, duh) was able to cast The Curse of Baldness upon a fellow competitor (Abhora, duh) to suffer during the upcoming floor show.
  2. Lie Detector Test: This was a shady ol’ time – pure fun. We got some answers to hard-hitting questions and plenty of spilled tea. Does Victoria think they’re better than everyone else? Does Astrud believe they have what it takes to win? Are Koco’s titties full of secrets? Talk about juicy.
  3. Bobbing for Apples (in blood): While none too challenging or revealing, this throwback to the quintessential party game threw our players into the deep end from the jump. Wigs were slicked back in viscous plasma, and the ghouls were literally gagging. The Boulets surely got their money’s worth watching this puke fest.

 Most Gag-Worthy Moment: “Shoes” Lip Sync

Setting aside the season’s towering amounts of interpersonal drama, the Boulets set out to have fun this season. Their banter was sillier, the Titans made tinfoil hats and played “Stabula” in the boudoir, and an entire episode’s B-plot dedicated itself to the quest for fun. So, when the super-secret lip sync song for the Revenge of the Witch floor show revealed itself to be “Shoes” by Kelly, a collective gay gasp could be heard worldwide. We’re used to the occasional lip sync to a Boulet Brothers song, but something so explicitly camp seemed almost out of reach on the show. Watching these Titans, who are now horror icons in their own right, prance around the stage to such a ridiculous song was pure magic. Thank you for such a stupid surprise, Gagula.

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Most Heartwarming Moment: Melissa and Abhora Make Amends

In a season full of strong personalities and love triangles, the clash of the Titans often happened off-stage more than on. And while we love a good drama, it tended to drone on longer than Merrie Cherry on Season 4. At one point, it seemed as if Melissa and Abhora were going to come to blows due to the former’s intolerance of petty drama and the latter’s self-destructive behavior. In actuality, an angel must have been shining down on Hell that day because while on location for the D&D challenge, the pair set aside their differences and hugged it out. Our stone-cold hearts grew three sizes that day.

Most Robbed: Abhora as the Spiral Witch

Abhora had a very tumultuous season, but one of their moments in the spotlight was during the Revenge of the Witch floor show. They shocked the cast by returning from oblivion, expertly rolled with the Curse of Baldness cast upon them by Erika, and turned out one of their best floor shows of the season. Sure, Abhora can’t quite figure out how to walk in a heel, but they swirled and twirled around that stage like it was New York City and definitely understood the assignment. They should have at least been at the top if they could not secure the win. Instead, they were safe and left to their inner saboteur backstage. Robbed!

Most Iconic Inanimate Object: The Quill

I know what you’re thinking: What about Koco’s axe, HoSo’s bubble gun, and Abhora’s creepy baby doll mug? The Golden Ghoulie goes to Episode 1’s quill, which the Titans used to write down the names of who they thought should be up for elimination, Survivor style. Much like a toxic hookup, it came, caused chaos, and left without a word. It also gave us one of the season’s funniest moments in which Koco could not use the quill to save her life due to her iconically long nails. We need a Koco Caine and Jennifer Coolidge buddy comedy, stat!

Best Wig: Victoria Elizabeth Black’s Zombie Prom Intestines Wig

Intestines transformed into a wig. It looks as intricate as it does disgusting. Need we say more?

Worst Wig: Yovska’s Revenge of the Witch Wig

While we are here to celebrate our Titans, there needs to be at least one straight-up shady category. Yovska doesn’t typically wear the standard drag wig – or any at all – so they must know this was a sin. It looked like a possessed merkin, unless, maybe, that’s what they were going for?

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Biggest WTF Moment: Grandmother Bitch

If you thought “Abhora as ???” was confusing, you hadn’t seen anything until Kendra appeared on stage in Episode 3. Dressed like Judy Jetson as a high-end call girl, she used a Nintendo Switch controller as a prop phone to scream expletives at/about Grandmother Bitch in a surreal spoken word performance. It culminated in her pooping out an alien egg and eating it. After some internet sleuthing, it has come to our attention she was paying homage to the 1999 Disney Channel original movie Zenon: Girl of the 21st Century. If this helps you make more sense of it, we are glad to have helped. In any case, we couldn’t take our eyes off her, and we hope she made it to the Protozoa concert with egg-free hotpants.

Biggest Upset: Melissa Tops While HoSo & Evah Bottom

 Melissa had been playing as an underdog throughout the season, but Episode 6’s wrestling challenge provided the perfect opportunity for the fiercest butch queen of the franchise to snatch a win. In contrast, frontrunners HoSo and Evah couldn’t match her masculine energy and soon faced the Staircase of Souls. Tension was thick, and it seemed the Boulets didn’t bring a knife because both remained safe by the episode’s end. One upset creates another, and everyone was left to wonder what consequences this double save might hold for the future. The drama of it all!

The Golden Breastplate Award of Honor: Koco Caine

The Golden Breastplate Award™ honors the Titan who displays a god-like mastery of shade and the spoken tongue. Koco Caine shone like a beacon of light in the darkness, illuminating a path for all to see. She was the season’s narrator, telling like it was, is, and will be. She lay her shade like delicately placed proximity mines, popping off when you should have known better. The only dragging of Koco Caine was done by Koco Caine herself because if you can’t read yourself, how in the hell are you gonna read somebody else? She left the season unscathed, emerging as the show’s sweetheart with a heart – and a breastplate – of gold.

That’s our show, Uglies. Thank you for being a part of the inaugural Golden Ghoulie Awards, and we hope you enjoyed reminiscing on the crowning achievements of our beloved Titans. If you wish to wash away some of that pesky fire and brimstone, we’ll be dumping buckets of blood on people in the parking lot after the show since it went unused for the finale. Rest in pieces!

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Alex Warrick is a film lover and gaymer living the Los Angeles fantasy by way of an East Coast attitude. Interested in all things curious and silly, he was fearless until a fateful viewing of Poltergeist at a young age changed everything. That encounter nurtured a morbid fascination with all things horror that continues today. When not engrossed in a movie, show or game he can usually be found on a rollercoaster, at a drag show, or texting his friends about smurfs.

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Editorials

Stop Pretending Like Jump Scares Are a Bad Thing

There are people who genuinely dislike jump scares for good reasons, both personal and philosophical. However, given how frequently the same talking points are regurgitated over and over when it comes to jump scares, a lot of people are imitating the opinions of others rather than investigating their own relationships to jump-scare-heavy movies. If you talk to enough horror fans, you get the sense that the general party line is that jump scares are a cheap, lazy way to frighten the audience and spice up an otherwise uninteresting B-movie. Ask anyone in the know about the differences between 1989’s The Woman in Black and the 2012 version if you want a real potent example.

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Last September, I gave you a step-by-step guide on introducing a scaredy-cat to jump scares. But over the past year, I have continued to hear the same conversations from horror fans the world over. “That movie sucked, it was all jump scares.” “They couldn’t make it scary, so they just threw in a bunch of jump scares.” How cheap, how tawdry, and on and on and on. It turns out that teaching people how to endure jump scares is just half the battle. Teaching people how to respect jump scares is an entirely different prospect.

Beware Anti-Jump Scare Propaganda

There are people who genuinely dislike jump scares for good reasons, both personal and philosophical. However, given how frequently the same talking points are regurgitated over and over when it comes to jump scares, a lot of people are imitating the opinions of others rather than investigating their own relationships to jump-scare-heavy movies. If you talk to enough horror fans, you get the sense that the general party line is that jump scares are a cheap, lazy way to frighten the audience and spice up an otherwise uninteresting B-movie. Ask anyone in the know about the differences between 1989’s The Woman in Black and the 2012 version if you want a real potent example.

And sure, throughout horror history there are plenty of bad jump scares where you can practically see the production assistant’s hands tossing the black cat into frame in front of the woman in the diaphanous nightgown. However, at the same time, moments like the final scene of 1976’s Carrie or the big hospital scare sequence in The Exorcist III are generally hailed as masterpiece moments. This strikes me as hypocritical, for one very good reason. It is hypocritical.

Listen To Your Body

There’s a reason even anti-jump scare folks will praise some of the best examples of the form. Jump scares are servicing a different, but no less valuable, need for the horror fan than “elevated” horror material that is more atmospheric and dread-inducing. This is because they have a profound, direct impact on the body. Jump scares spike the adrenaline, cause the heart to race, and generally exhilarate the system. While this is something that general dread can accomplish too, jump scares provide a much more immediate rush, like taking a ride on a roller coaster. And who the hell ever got off a roller coaster and said, “I wish that was more intellectually stimulating?”

A dread-filled atmosphere is to a good, solid jump scare is what a filet mignon is to a handful of M&M’s. Presuming they align with one’s tastes in the first place, both experiences are satisfying in their own unique way, but there’s only one you’d post on Instagram about. The only major difference between them is how they are perceived by others rather than the way they are received by oneself. On top of that, not all jump scares are mindless carnival rides, anyway (even though there’s absolutely nothing wrong with being that in the first place).

Switch Your Brain On (If You Want)

Maybe the propaganda is right. Maybe jump scares are cheap. But the best ones are never, ever lazy. As if we needed proof that there’s more nuance to jump scares than people give them credit for, there are a wide selection of different varieties of jump scares in the horror genre. The two primary categories are slow burn horror scenes that culminate in a big scare (ie. the clapping scene in The Conjuring) and short sharp shocks that come out of nowhere during a seemingly calm scene (i.e. the end of the original Friday the 13th).

The former type are the ones that typically receive the complaint “I could see the scares coming from a mile away.” But here’s a little secret: That’s usually the point. Filmmakers working in the Conjuring slow-burn mode want you to know there’s a scare coming down the line. The trick is in not telling you when it’s going to come. These scenes harness the anticipation of a jack-in-the-box, prepping you for a random shock but still making you jump nevertheless. This type of active participation in a scene can be just as intellectually satisfying as dissecting the subtextual themes of a character’s dialogue, especially when the filmmakers have the prestidigitation skills to point your attention in one direction, only to have the scare come from a completely unexpected place.

Shed Your Shame

Ultimately, what I think people are doing when they complain about cheap jump scares is the same thing that one does when groaning after somebody tells a pun. That’s the reaction you’re expected to make to something perceived as “low culture.” But didn’t you secretly sort of enjoy that pun? Admitting you’ve enjoyed a bad joke has become taboo for whatever reason, but the “worst” puns are the ones that get repeated the most, because piss and moan all you want, you’re only human. Sometimes you need to act upon your more basic urges, even if they’re not as classy as the interests you probably want to be known for. Societal pressure is a tough nut to crack sometimes, but embracing both the high and low elements of the genre is simply allowing oneself to enjoy a fuller spectrum of horror movie moments.

My point is, don’t limit yourself. Eat those M&M’s. Laugh at your friend’s stupid puns. And jump into the scares.

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Why ‘Kilometer 31’ (2006) Is An Unconventional La Llorona Film

The Mexican horror film Kilometer 31 (KM 31), directed by Rigoberto Castañeda, takes the story of La Llorona and gives it a modern twist with its aesthetic approach. While it does follow the majority of the traits previously mentioned, its presentation is what garners its purpose for being unconventional compared to other La Llorona films. The film follows Catalina (Iliana Fox) as she attempts to uncover the mystery behind Ágata, her twin sister’s car crash outside of Mexico City. By her side, she has her boyfriend Nuño (Adrià Collado) and Ágata’s boyfriend Omar (Raúl Méndez).

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The story of La Llorona has been within the Latin American zeitgeist since the first days of the Spanish and Portuguese conquest. In many, and the most common iteration of La Llorona, her character is tied to the real-life person, La Malinche. Her story, just as tragic, involves the slaughter of her people as she became the interpreter between the Indigenous people of Mesoamerica and Hernan Cortes. Outside of the direct connection between these two, La Llorona’s tale typically has specific details that make her story unique.

It’s a safe bet her story will include the infanticide of her children by drowning. The reasons vary drastically depending on the story. Another factor consists of the infamous white dress the mythical being wears. This is mainly seen as she’s wailing for her dead children to return. And lastly, there is usually an account of a man being lured by La Llorona’s presence. Of course, there are exceptions where a story will take liberty with the origins and other tropes within the narrative. However, there’s a horror film that takes the story into new territories while still rehashing some previous traits with La Llorona’s tale.

The Mexican horror film Kilometer 31 (KM 31), directed by Rigoberto Castañeda, takes the story of La Llorona and gives it a modern twist with its aesthetic approach. While it does follow the majority of the traits previously mentioned, its presentation is what garners its purpose for being unconventional compared to other La Llorona films. The film follows Catalina (Iliana Fox) as she attempts to uncover the mystery behind Ágata, her twin sister’s car crash outside of Mexico City. By her side, she has her boyfriend Nuño (Adrià Collado) and Ágata’s boyfriend Omar (Raúl Méndez).

When thinking of La Llorona films from Mexico, it’s expected to see plenty of scenes within nature. This is because her story revolves around the drowning of her children in a river. In some cases, it becomes a character on its own as her character breathes life into the environment. Her presence creates an eerie atmosphere, and she uses the forest to her advantage. KM 31, however, only has a handful of scenes within the forest. Instead, the film takes the setting into the concrete forest of Mexico City. Here we see a ghostly figure torment Catalina in the comfort of her home. The open wildlife scenery is swapped for religious artifacts, contemporary decorations, and enclosed rooms. This not only creates a suffocating atmosphere but also allows Castañeda to display his horror influence in full.

During the early Aughts, the horror community began to see a rise in Japanese horror films entering the mainstream. This was due to the remakes coming out of the United States with films such as The Grudge and The Ring. By 2006, the release of KM 31, J-Horror had left its mark. Filmmakers like Castañeda utilized the tropes and aesthetics of these films and used them for their own. KM31 is a Mexican horror film using Latin America’s famous folktale, yet its lens and approach come from a J-Horror perspective. 

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To start with the most evident influence, KM 31 uses a different kind of ghost as opposed to the woman in the white dress. In true J-Horror fashion, the main ghastly entity appearing to the protagonist is a boy. We see him appear after Ágata’s car crash. At first, his appearance feels like terrorizing tactics against Catalina throughout the first act of the film. His scenes are drenched in oppressive tension. In certain scenes, there are recreated scenarios that would fit perfectly with the J-Horror bill. One includes using a CRT television with a blue screen illuminating the enclosed apartment. After the initial shock of the boy’s ghost, he shows his intention isn’t filled with malice. He’s there to help solve the mystery behind the accident. The second act follows the same narrative style of the J-Horror films. It focuses on the mystery instead of the scares as Catalina uncovers more details about the supernatural occurrence at KM 31.

La Llorona’s story comes with aspects that can not be dismissed. One of these is the connection between herself and the river her children drowned in. Castañeda doesn’t forget this as his film includes plenty of scenes including water. However, it doesn’t follow the typical path you would see in a film about La Llorona. The flow of water from a natural stream is exchanged for the artificial piping in Mexico City. Throughout the film, there are constant frames of water flowing through pipes, which indicates its importance. A harrowing voice expels from sinks and bathtubs as water courses through. On top of that, there’s a clear relationship between water and the presence of the ghost boy. This could be overt such as the ghost appearing during the rainfall but it’s also more subtle such as a glass reflection recreating water ripples on the boy’s body.

In contemporary times, there have been cinematic iterations of La Llorona straying from the default. We see this with films such as Jayro Bustamante’s La Llorona and its inclusion of the Guatemalan silenced history. In the early 2000s, films taking a new approach to La Llorona weren’t as common. The only other account of a drastically different iteration includes The Curse of the Crying Woman from 1963. Even then, that film still felt distinctively Mexican with its direction, which is not a con at all by the way. But Castañeda’s KM 31 brings foreign influences to the story of La Llorona for the first time on the big screen. This makes the film feel completely different from any other La Llorona released to date.

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