[1][2] Former Guatemalan dictator Enrique Monteverde (based on Efraín Ríos Montt) is convicted for orchestrating the native Mayans's genocide in 1982–83.

The high court overturns the verdict, ruling his crime cannot be conclusively proven, causing the outraged public to hold nonstop protests outside Monteverde's home.

Carmen goes into a trance as she is transported back to the nightmare, which are revealed to be Alma's last moments, watching her children drowned by soldiers before being executed herself by Monteverde.

The website's critical consensus reads "La Llorona puts a fresh spin on the familiar legend by blending the supernatural and the political to resolutely chilling effect.

She praised its direction, visual style and story which "layers elements of class, race, and gender conflict on top of creeping horror atmosphere", but criticized its pacing which "slows to a crawl, as Bustamante delves into inter-familial dynamics that are interesting but ultimately a distraction from a more satisfying tale of supernatural revenge.

"[10] Manohla Dargis from The New York Times described the film as "a thoughtful, low-key Guatemalan movie that deploys its genre shocks inside a sober art-house package".

She noted that "its early scenes — with their mannered delivery and narrative ellipses — are right out of the modern art-film stylebook", reminding her of Lucrecia Martel's style.

"[11] Monica Castillo from RogerEbert.com awarded it 3 stars out of 4, stating that "La Llorona is filled with bewitching imagery and tension, even if it’s less full of surprises and jump scares than other horror movies.

"[12] Meagan Navarro from Bloody Disgusting awarded it 2+1⁄2 skulls out of 5, writing "Bustamante delivers a sobering evocation for justice, and in the case of La Llorona, it’s by the hands of a folkloric vengeance seeker.