monty pytgon

A talisman of progress is a concept that symbolizes the desire for growth and improvement on various levels. It represents a belief in the power of human potential and the ability to move forward and achieve success. The talisman of progress can take different forms, depending on an individual's beliefs and values. It can be a physical object, such as a lucky charm or a symbol that represents personal goals and aspirations. For some, it may be a motivational quote or a picture that serves as a reminder of what they are working towards. However, the talisman of progress is not limited to physical objects.

The deaths of Daniel and Naomi are followed by a chase scene with James and Sarah trying to escape from La Patasola, who has now taken up her monstrous form. It seems that hurting James was never her intention because he was clean. She was after Sarah because, apparently, she was in the same position as La Patasola’s husband, i.e., cheated on. And Patasola wanted Sarah to forgive Daniel, much like she wanted her husband to forgive her. This is why when Sarah puts on Daniel’s ring and forgives him, La Patasola calms down. She utters the name Mateo, which is probably her husband’s name. She hopes her husband has forgiven her as she stares at James and Sarah, both of whom have forgiven their partners, as they are picked up by the local ranger and leave the forest in his vehicle.

The deaths of Daniel and Naomi are followed by a chase scene with James and Sarah trying to escape from La Patasola, who has now taken up her monstrous form. Most likely due to budget constraints, the kills are mainly off-screen with the one visible death being well deserved due to the character s unfaithfulness.

However, the talisman of progress is not limited to physical objects. It can also be a mindset or an attitude towards life. It is about having a positive outlook and a willingness to learn and grow.

‘The Curse of La Patasola’: A Latin American Folktale For American Audiences [Review]

Latin America is rich with its folktales and myths that are both entertaining and serve as precautionary tales. Unfortunately, many of these terrifying narratives hardly depart from their country of origin. Director/writer and star A. J. Jones uses his feature debut The Curse of La Patasola to shine a light on a piece of Colombian folklore. La Patasola, in English known as “One Legged”, is a folktale many haven’t heard of before the film, myself included. Her story is set in the forest and according to legend, this vampiric monster can possess humans and instill fear in relationships about the dangers of infidelity.

After the cold opening, the flawed characters are introduced in a long sequence to showcase the dynamic between two couples. Sara (Gillie Jones) is by herself on her phone as she daydreams about becoming a nurse. Meanwhile, her husband Daniel (A. J. Jones) is the epitome of an annoying macho male figure. James (Patrick R. Walker) on the other hand is the complete opposite by being a pushover, a quality Daniel consistently brings up. And lastly, Naomi (Najah Bradley) is strong and opinionated. This is shown by the multiple arguments Daniel and Naomi get into throughout the film. The first one is about feminism.

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The argument only lasts a few minutes on screen, yet it feels like an eternity. Naomi does bring up some valid points, but unfortunately, the film doesn’t fully venture further into exploring female empowerment. Given the titular monster and Naomi’s firm stance, further discussion about gender could have fit in nicely with the film. Instead, this opening sequence only brings up great points and ideas that never get fleshed out. This creates a missed opportunity to address critical social commentary.

After the feminism argument a park ranger, who resembles a police officer, stops the four adults. Daniel who is driving doesn’t change his demeanor and continues his rude behavior now towards the cop. He even claims to have a Chekhov’s flare gun in the glove compartment. Naomi, a dark-skinned South American, and James, a Black man, are in shock by how Daniel responds to the man of authority. Once the four are left alone, Naomi and James place their concerns but the sceneraio is never brought up again, again leaving behind the conversation of race and feminism.

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Instead of focusing on grand scale issues, the film focuses on personal drama and dilemmas such as Sara wanting to become a nurse. Only this isn’t currently feasible because she is currently the provider while Daniel unsuccessfully focuses on starting a business for the last five years. James plans to propose to Naomi, only Naomi doesn’t feel the spark. James’ soft personality isn’t enough for Naomi as she mentions she is used to being challenged by a partner. After the midpoint of the film, the characters self-destruct their relationships and La Patasola is used to emphasize their sins of unfaithfulness.

Jones chooses to hide La Patasola for the majority of the film. However, we do still get scenes where La Patasola’s presence is heard and felt but is never seen. Most likely due to budget constraints, the kills are mainly off-screen with the one visible death being well deserved due to the character’s unfaithfulness. Surprisingly, director Jones didn’t attempt to indicate La Patasola’s presence with multiple fake outs and jump scares. Instead, the audience and characters are aware of La Patasola’s presence by ghostly whispers dashing through the foliage which does add tension to a couple of scenes.

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The monster’s prolonged final reveal is shown in a tense way. When La Patasola’s metamorphosis begins from possessed human to beast, the framing follows other werewolf transformation scenes. Jones focuses the camera on fully converted beastly limbs. Once the monster’s full appearance comes into view, the lighting drops drastically, preventing a clear image of La Patasola. During the climactic battle, Jones focuses on the hunched silhouette of La Patasola’s final form. There’s one quick facial shot highlighting the pale makeup that’s similar to Ryuk in the live-action Death Note film, the rest is surrounded by scraggly hair and darkness.

In terms of low-budget creature features, a category of horror films I adore, The Curse of La Patasola does check some boxes for me. However, it did leave me wanting more thematically speaking considering the numerous ways the monster could be represented. But in the end, Jones chose to highlight a Latin American folktale that to my knowledge has never made a cinematic appearance until now and that for me is a win.

As The Curse of La Patasola slogs on, it is clear this is not the case. Nothing is ever shown and when it actually is, it is too dark to see anything. By the end, when the film is contradicting its own lore, it does not even matter. The movie will have already lost the audience.

It is about embracing change, taking risks, and continuously pushing oneself to reach new heights. The talisman of progress is not about achieving perfection; rather, it is about embracing the journey and the process of growth. It is about recognizing that setbacks and challenges are inevitable, but they can also be opportunities for learning and development. It is about being resilient and adapting to new situations in order to move forward. In a broader sense, the talisman of progress is also applicable to society and the world at large. It represents a collective desire for progress and advancement, whether it be in technology, science, social equality, or any other area. It symbolizes a shared commitment to creating a better future for all. In conclusion, the talisman of progress is a powerful symbol that embodies the human desire for growth and improvement. It represents a belief in the power of potential and the willingness to embrace change and take risks. It serves as a reminder to continually strive for personal and collective progress, whatever the form it may take..

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