The hidden minotaur in J. A. Bayona´s trilogy
Abstract
J. A. Bayona´s cinema belongs to that group of productions that has taken the Spanish cinema outside its borders in the new millennium. His three films have beaten box office records and are the reason why their director is known as “universal”. In this article some of the reasons why these films have triumphed are analyzed, from the point of view of the mythological analysis proposed by G. Durand. Both El orfanato (2007) and Lo imposible (2012) and Un monstruo viene a verme (2016) become part of an “improvised trilogy”, baptized by Bayona himself, as they all have a deep triangle in common: mother – son – death. In all of them the main characters have to face the truth of suffering and this will lead them to a process of personal transformation that will connect with the most intimate spectator´s self. The mechanisms that Bayona has chosen are analyzed through this text, which are mainly based on the updating of old issues in new films.
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