Los niños como umbrales de paso en "El chico sucio" de Mariana Enríquez y Los niños de Carolina Sanín

Thresholds are dangerous places, neither here nor there, and walking across one is like stepping off the edge of a cliff in the naïve faith that you'll sprout wings halfway down. Como afrma Jessica Balanzategui en su estudio The Uncanny Child in Transnational Cinema: The child is one of the most pivotal of modernity's symbolic constructs, around which central cultural institutions such as the family and the school, and even our very conception of the adult, revolve. Childhood continues to be demarcated by characteristics such as innocence, naivety, cuteness, and vulnerability, which defne the child in terms of its vacuity and lack of form in relation to the experienced, knowledgeable, rational, and powerful adult. El motivo del niño ominoso, tendría su auge a comienzos de los ochenta y volvería a resurgir con fuerza a fnales de los noventa y comienzos del milenio con películas como Ringu (1998), The Sixth Sense (1999) y The Devil's Backbone (2001) (15).