After moving from New York to Hollywood, Cardona quickly began writing, directing, producing and acting in films, including the first Spanish language film shot in Hollywood, HAVANA SHADOWS (1929). He was in fact the first person to make a film in multiple language formats; silent, English and Spanish, with the same cast, and was the youngest film executive at the time. Following this minor triumph in Hollywood, Cardona moved to Mexico to become almost an instant success, ushering in the Golden Age of Mexican cinema and fathering the equally prolific Rene Cardona Jr. Cardona Sr's efforts include comedy, drama, science fiction, wrestling, horror, adventure, westerns and pretty much any other genre you can think of. His films inspired his son, Cardona Jr., to continue in his footsteps making some of the best genre films to come out of Mexico during the '70s and '80s. Cardona Jr. in turn fathered Rene Cardona III who also continued in his father and grandfather's footsteps, and has made a slew of entertaining genre films, including this one; SHRIEK OF TERROR (1991).
After high-tailing it out of the temple, the leader of the posse reports this news to the local shaman, Colibri (Roberto Ballesteros), who realizes that bad things are about to go down and only he can stop them.
The Chaneque, slashing his way through the cast to complete his bone collection, tracks Gabby down by following her to school where her teacher is very concerned about the pictures of monsters that she has been drawing. As to put a fine point on the horror that awaits her, while playing at school the Chaneque causes her volleyball to catch on fire and melt. If I had a nickel for every time I got send to the principal's office for that.
Naturally the Chaneque finally catches up with Gabby and possesses her turning the film upside down into a sort of bizarre riff on POLTERGEIST (1982) and POLTERGEIST II (1986), where Gabby's parents can hear her voice in the house and Colibri (who can communicate telepathically with the child) must pull a Zelda Rubenstein and get their daughter back.
The film also features some interesting monster POV shots that appear to be cribbed from EVIL DEAD (1981) and a few other stylistic moments that almost clash with the slightly pedestrian shooting technique of the rest of the film. Also interesting is the fact that Roberto is a complete dick to his family, at one point he flies into a rage when he discovers that someone set some Mexican troops in with the French troops in his diorama of the French intervention of 1862. Granted that subject is a bit prickly for Mexicanos as this battle is the exact reason that Cinco de Mayo is celebrated, though I don't think they had dollar Corona beer specials at the time.
In addition to a couple rather surprising Hollywood-taboo busting moments, this outing is loco enough to make you forgive the low budget and the fact that we only really see the Chaneque in extreme close-up or in silhouette.