Loving The Bony Lady

2012, Arely Gonzalez, Mexico, Spanish, USA,

Director: Scott Elliott
Release Year: 2012

Synopsis:

In the heart of Queens, New York, a place of quiet devotion holds one of the most controversial and enigmatic figures in contemporary spiritual practice. This place, built by Arely Gonzalez, a transsexual immigrant from Mexico, is believed to be New York’s largest shrine to La Santa Muerte, the Holy Death, a folk saint worshipped in Mexico and increasingly across the U.S.

 

Loving The Bony Lady (2012), directed by Scott Elliott, chronicles Arely’s journey from marginalization to becoming a spiritual leader for a growing community of devotees. The film explores not only her personal transformation but also the rise of La Santa Muerte and the tension between devotion and condemnation that has characterized this unique religious phenomenon.

 

La Santa Muerte, often referred to as La Flaca or “the Skinny Lady,” is depicted as a skeletal figure, usually draped in a flowing robe and holding a scythe. Unlike traditional saints venerated by the Catholic Church, Santa Muerte does not embody the usual virtues of holiness, purity, or righteousness. Instead, she is often associated with death, the afterlife, and the unacknowledged aspects of society, such as poverty, crime, and marginalized individuals. Santa Muerte’s devotees see her not as an agent of judgment, but as a compassionate protector who offers solace and miracles to those who seek her out. The saint's roots lie in a blend of indigenous Mexican traditions and Catholicism, emerging from a syncretic relationship between native death deities and Catholic saints. Despite her growing popularity, La Santa Muerte remains a controversial figure. The Catholic Church vehemently condemns her worship, accusing her of being a symbol of criminality and idolatry. Despite this, her influence has expanded rapidly, especially among the marginalized—drug dealers, sex workers, prisoners, and others who find themselves excluded from mainstream society.

 

For Arely Gonzalez, La Santa Muerte is more than just a religious figure; she is a symbol of personal transformation and empowerment. Born in Mexico and forced to leave her home country due to discrimination as a transsexual woman, Arely found refuge in the United States, where she initially faced further challenges as an immigrant. However, her life took a significant turn when she discovered La Santa Muerte. In Mexico, Arely faced harsh rejection. She was kicked out of Catholic churches for being transgender, and was scorned by society for her nonconformity. But in La Santa Muerte, Arely found an unexpected source of comfort and solace. La Santa Muerte's unflinching embrace of those who are marginalized mirrored Arely's own experiences of exclusion and suffering. She began to build her shrine, dedicating herself fully to the veneration of the Bony Lady, seeing in her a kindred spirit who offered both protection and hope to those often shunned by the world. The documentary Loving The Bony Lady portrays Arely as someone who has not only found personal salvation through her devotion to La Santa Muerte, but has also become a leader within the community of devotees who gather at her shrine. The film captures her role as a spiritual guide for those seeking comfort, whether they are struggling with addiction, poverty, or rejection. For Arely, her shrine is not just a physical space; it is a refuge for those who need a sense of belonging, and a place where they can experience the miracles that La Santa Muerte is said to bestow.

 

Loving The Bony Lady is a film about faith, but it is also a powerful exploration of marginalization, identity, and survival. Arely Gonzalez's relationship with La Santa Muerte can be understood as an act of reclamation. The skeletal figure, long associated with death and despair, becomes, in her hands, a source of empowerment. This duality—death and life, destruction and protection—is at the heart of Santa Muerte’s appeal to those on the margins. La Santa Muerte’s growing popularity, especially among the poor and disenfranchised, represents a challenge to traditional religious structures that have often excluded these very same people. Catholicism, in particular, has long had a problematic relationship with indigenous spiritual practices. While the Church condemns La Santa Muerte, many of her followers view her as an alternative to the institutional Church that they feel has abandoned them. For Arely and her followers, La Santa Muerte is not an entity of sin or criminality but a representation of divine mercy and protection for those who need it the most. Moreover, the documentary explores the ways in which La Santa Muerte has moved beyond the confines of Mexico and taken root in the U.S. The shrine that Arely has built in Queens is more than just a physical space; it is a reflection of the broader cultural migration of La Santa Muerte's devotion. The film captures a unique intersection of faith, identity, and culture as Santa Muerte crosses borders and becomes part of the immigrant experience in the U.S.

 

At the core of Arely Gonzalez’s story is her shrine, a vibrant, colorful space filled with candles, flowers, and statues dedicated to La Santa Muerte. The shrine is not just a private devotion; it has become a sanctuary for a community of devotees. The documentary shows how Arely’s home has turned into a hub where people come seeking comfort, protection, and a sense of belonging. People from all walks of life—immigrants, drug users, people facing legal troubles—turn to La Santa Muerte for guidance. Many of them have nowhere else to turn. Arely’s role in this community is not one of authority in a traditional sense; rather, she serves as a caretaker, a listener, and a guide. She opens her doors to anyone in need, offering them solace through the rituals of La Santa Muerte. The film captures intimate moments between Arely and the devotees, showing how the saint’s power is transmitted not only through prayer but also through a deep emotional connection to the people she helps.

 

Arely Gonzalez’s status as a transgender woman adds another layer of significance to her devotion to La Santa Muerte. Santa Muerte, with her skeletal and often ambiguous gender presentation, mirrors Arely's own experience of navigating gender in a society that demands conformity. La Santa Muerte's fluid identity offers a space for the transgender community to engage with spirituality in a way that is not defined by traditional gender roles. For Arely, this connection to La Santa Muerte is an affirmation of her identity and a way to transcend the stigmas associated with being a transgender immigrant. This intersection of the sacred and the personal also highlights the unique nature of La Santa Muerte's appeal. In a world that often marginalizes those who do not fit into conventional molds, La Santa Muerte offers an inclusive, nonjudgmental form of worship that resonates with those who may feel excluded from mainstream religion. Her acceptance of all people, regardless of their background, offers a profound sense of validation for those who often live on the periphery of society.

 

Loving The Bony Lady is more than just a documentary about a folk saint—it is a powerful story of faith, identity, and survival. Through Arely Gonzalez’s life and devotion to La Santa Muerte, the film invites us to explore the ways in which spirituality can become a refuge for those who feel invisible or rejected. La Santa Muerte, with her bony, skeletal form, represents not just death but also life in its most fragile and impermanent form. For Arely and her community, the Bony Lady offers a path to healing, protection, and, ultimately, love. As La Santa Muerte continues to gain followers in both Mexico and the U.S., Loving The Bony Lady serves as a reminder of the power of faith to transcend borders, identities, and social stigmas. Through Arely’s shrine and her unwavering devotion, we see how devotion to the Bony Lady has become not just an act of worship, but a transformative force for those living on the margins of society. In the world of La Santa Muerte, death is not the end, but a beginning—an opportunity to find peace and redemption in a life that often feels anything but peaceful or redemptive.

via: imdb.com
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