ABSTRACT
Building on decolonial thinking and queer theory, this chapter analyzes how contemporary independent maternal horror film undermines the hegemonic cinematic imaginary of futurity. Its case study, Madre (2016), challenges the modern-Eurocentric-patriarchal cycle of epistemic, ideological, and bodily reproduction, as well as attempts to mitigate its contradictions via “cyborg” or “posthuman” technologies. Through close analysis of linguistic hierarchies, genre, and visual expression, and a comparison with Eugenia Prado’s experimental novel, Lóbulo (1998), the chapter finds that Madre’s subversive speculative potential lies in its insistence on a horrific plurality of conflictive perspectives, delinking from one single, “universal”, timeline, and recovering “monstrous otherness”.
