October 31, 2024 • 61 mins
Armando, Joey, and special guest Alfonso Carrillo of Rendezvous LA discuss 2 Juan Lopez Moctezuma films:
El Alimento Del Miedo (1994) - A supposedly “lost” film of Moctezuma’s which was also his last film ever made.
Alucarda (1977) - the most well-known & iconic Mexican gothic horror film that only a madman like Moctezuma could make.
Also, be sure to join Rendezvous on Thursday, November 14th at The Frida Cinema for a one-night only screening of Alucarda! tickets are for sale at https://thefridacinema.org/movies/rendezvous-alucarda/ & in person at the box office.
Keep up with all Trash-Mex material at: https://www.trashmex.com
Episode 4 recorded in West Covina, CA. Many thanks to Jaime Pinedo for making this episode happen!
Follow Rendezvous on Instagram: @rendezvous_la
Follow Alfonso Carrillo on Instagram:
@djalfonso
Follow Jaime Pinedo on Instagram:
@jaime_a_p
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Follow Joey Diaz on Instagram:
@cheddabrown
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:30):
Hello everybody, welcome to the trash mix podcast. This is uh, what is this episode Joey episode four episode four?
Crazy right people people are loving it man. They're tuning in for first one, you know, it was a sweaty summer day
And now it's a cool kind of a cool
(00:51):
Mid-fall kind of weather but today it's a special episode because not only are we with Joey here, of course
Yes, sir. We have a special guest and this guy is actually in charge of Joey sort of sort of he's my he's my butt
I call him in
It's none other than Alfonso Carrillo of rendezvous say hello Alfonso. Hello everybody. Thank you guys for having me
(01:14):
Yeah, thanks for having us and what are we gonna talk about today Joey? So today? I figured we would do an episode on a
Colt figure in Mexican cinema
People know him for
Couple of his movies that are kind of crazy, but we're only gonna break down to today
And he is none other than Juan Lopez
(01:36):
Maktesuma
And what's the title the title is gonna be?
Juan Lopez Maktesuma lost and found
Very nice
It's gonna be awesome so lost and found so one movie is found but there's lost material and the other movie is supposedly lost
But I mean if it's lost how can we saw it?
(01:59):
Exactly. I think a good way to put it is that this is
Maktesuma's Magnum Opus and his Swan Song right?
Yeah, it's like it's farewell the one that we're gonna first talk about and then the other one is like
The opener of his career basically
Yeah, so let's let's just get right into it Armando who was Juan Lopez Maktesuma?
He was a Mexican filmmaker
(02:21):
He was a Mexican filmmaker from the 70s and part of the 80s right I believe
Yeah, and then he had like a mental breakdown during the 90s, right?
Based on the movie that we watched that's from the 90s. I would say that that's a pretty accurate description
I know how I was wondering how much he was a taxi
But then it makes sense. It makes sense stuff because it's like his earlier movies were really fucking crazy
(02:45):
You got Mansion of Manus, which is about crazy people
Yeah, that's a banger too. What was the bloody Mary?
Yeah, Mary Mary, Bloody Mary. I've never seen that one, but I know people have told me it's pretty fucking wild
That's the only of his that I haven't seen. I don't know if you've seen it in Foxy. I haven't seen it yet
Honestly, I haven't seen the other one too. Tequila Stranger, right? Tequila Stranger
I don't know if that's a Canadian release, but it plays like a kind of a stale
(03:07):
Gialo like a like a thriller serial killer type of movie. It's it's okay
Probably out of the the four that I've seen of his probably my least favorite I would say yeah, yeah
crazy films crazy guy and
Then he's very famous stuff for one of the movies I were to talk about
(03:28):
Which is Alucarda
Alucardada
Your grandma knows that movie my art teacher knows that movie
That's everyone that I feel like that's everyone's like a have you seen Alucardada?
That's everyone's like a chip right there. They're all in on that one
But there's a reason why I mean it's really we'll break it down in a moment
But for now we're actually gonna break down with
(03:50):
Alimento del miedo which is from 1994. I believe ya 1994
Yeah, 94. Yeah, and it's supposedly considered lost if you go to YouTube and you type it in there's these videos where they're like
What happened to Alimento del miedo?
The love the lost one, you know, my to zoom a film and then you're just like okay, and you watch it
It's just some bullshit that they made up
(04:12):
Yeah, I mean I think I think that's a good discussion right there, you know, is this a lost film or is it a forgotten film?
I think I would put it in the ladder. I think it's just a forgotten film
Probably unreleased for sure. That's probably the better term
It's not a lost film because obviously we've all seen it, right? Yeah
(04:33):
So let's let's kind of let's go into it a little bit Alimento del miedo which you know translates to you know the food of fear
As Armando said released in 1994. That's what one year before
Maktuzumas death, right?
And it stars is aura espinosa who people would know from ratas en la ciudad
(04:54):
Pedro Navaja and playa prohibida which we kind of talked about a little bit in the our guest episode
Little boy in the movie. I'll infer now. No, he actually comes out in her and see a diabolica. Oh, is it?
Yeah, the killer clan. Oh, yeah
He's in that. Yeah, he's in the Alen Fernando. Yeah. Yeah, it all yeah. Oh, yeah
Phenomenal actors as a child for sure
(05:15):
It also stars none other than Juan Lopez Maktuzumas the lead as don Ramon and
It also stars
Salvador Sanchez who's in canoa and El Infierno, which is another you know co-classic Mexican film and
One of the things that I noticed in the title card something was Pedro infante junior
(05:38):
Oh my god, he's barely in the movie so he's barely in the movie in the whole the whole time
I was like, where the fuck how is better infante junior in this movie?
It makes no sense and then you know, he shows up at the end
We'll talk about that a little bit later
But when I was searching online because as well as watching this I was like where is this guy?
I got I was googling like better infante junior
(06:00):
Alimento de miedo
Nothing, it's not even on the IMDb credits. I could not find anything that he was actually in the letterbox, right?
I he's not even on the one I'm not even on the literally nowhere it says that he's in this movie except for the title cards
That totally caught me off guard
And she introduces them because he plays himself. Yeah, exactly. Yeah
(06:21):
Was like really
Like how did he how did Maktuzuma like
No, it's because he probably didn't even tell him that what this movie was about
He's like, hey, can you like sing for us a little bit? I mean, that's kind of what he is. Yeah, right
I did find it funny that his dad shows up on a t-shirt too
You know everyone
(06:43):
on a fucking tie-dye t-shirt no less, but
Basically alimento del miedo is a movie that's
Loosely or not loosely I guess loosely based on a real story
of a lady who killed her husband and used his
His flesh for tamales to sell to sell on the streets
(07:06):
Yeah working like plot for a movie and I guess that's one way to get rid of the body
Yeah, I guess so the story goes is that you know at her husband her, you know husband was abusive to her and her kids
Right, she got tired of it
Beat him upside the head with a baseball bat killed him and didn't know what to do with his body
So she just decided fucking I'm gonna chop it up into little, you know pieces of meat and cook it up
(07:28):
And we'll put it in some tamales. I mean that's the circle of life
But anyways, yeah, so it's loosely based on that and I say loosely because this movie is
Incoherent as fuck. Yeah. Oh my goodness. It took me like four times to understand it on his yeah
(07:49):
Yeah, that's why the first time when I first watched it when I first got like a copy of it
I'm like what the fuck am I watching the first what 40 50 minutes?
I would say are just make no sense to me
It's it's hard to follow because I feel like there's no real structure to the movie in
That's in that time span
I
(08:10):
Kept thinking this has to be a workprint like there's no way that this is like an actual completed film for my understanding
Yeah, it's not complete like some footage was shot and then maybe the rest wasn't shot
I believe I don't remember exactly the details, but I know it's definitely not a complete film person
Yeah, so even then it's like unreleased and complete
There's probably a reason why it's not out. Yeah, I would say so way
(08:32):
It starts off too with like that the the credits spray painted out graffiti pretty yeah
Right on the walls and center block and cement and everything and in that music the music was actually really good in this
Yeah, yeah, I'm always like listening to like okay, that's cool visuals, but let's listen to the music
(08:55):
Yeah, yeah, and so so for those who don't know fans is is the creator of rendezvous the crew here, so
Well, yeah, he listens to the music very closely
Yeah, and I would say as long as I've known you you you prefer the more like
Soundscapes over right like that's like your thing you you love like the soundscapes and stuff like that
(09:15):
Yeah, yeah instead of like the catchy tune. Yeah, exactly
Yeah, the sound design and just the weird kind of and this soundtrack was very
Very of our guard. Oh, absolutely. I could even eat there's a one scene where it's like a French
Shansong with like this crazy piano behind it and like these staccato strings and then
(09:37):
But like the beginning of the movie totally gave me I don't know if you guys thought of this
Santa sangria vibes
Circus thing theme and like the music and the main character being like a performer, so right right
That was that was kind of one of my notes the great soundtrack something like one of the notes that I took away from this was that
(09:58):
For those who don't know
Maktuzuma kind of work got into films through Hodorowski
But this almost feels like the closest to a Hodorowski movie that anyone can get yeah, so
And makes no sense and tries to be artistic in the cheapest ways possible. Yeah. Yeah
Yeah, yeah, it's like the you said it's like a traveling like I guess circus of gypsies
(10:21):
I don't even know what you would consider them right the right right
Yeah, the little boy is like a you know has his face painted throughout most most of the whole movie. Yeah, right
(10:54):
Oh
(11:21):
Very very low
Like very poor poor area of Mexico City, I guess is where yeah, what if they like a vest in the
What did they keep calling it like
And it shows because it kind of looks like a like a trauma post apocalyptic
(11:44):
Everywhere the buildings are all brandish it and yeah
and
Yeah, so he basically plays like a showman and it shows throughout the entire movie because I don't
I'm sure you guys remember this there's a scene in this where he
He I don't I don't even know who this guy was wasn't it?
El Choco Choco
What the hell was his name?
(12:05):
Chiquilada Chiquilada. Yeah, this random dude shows up and he brings into his house
And he's like I was an actor and he goes meadow. He's like I was in this movie a look at the
Oh
Was it his primo that he kept calling him his primo
I don't know. Maybe like an expression or something. I don't know one something like that. They're close. Yeah. Yeah, they were close
(12:27):
Yeah, and yeah, I caught that word right at the very beginning I
When he's the wife is better I was talking to don Ramon in the room and and you see the other guard up
In the background yeah, he's not showing a positive like he's put the other guy the poster even put up the
Was the mansion of madness poster to is on there
(12:49):
Yeah, and then he kept referencing on the director Rafael Villas and your curry like oh that was my friend and yeah and sure
Never in real life. They were friends. Yeah, but then yeah, that's the area like I was in a movie called out of guard
I had mansion of madness director was such a
Good
Oh
Sweetie
I sexy, don't you fear to get back into hoe on lucky
(13:12):
Oh, I will just cancel cost is important
price important unquote
Rhino but as case in Las Cosas van 42
In a apare Sherlock
Arda he dimension to the l'occountry director
whole mente
But Chifladaso, Chifladaso.
(13:35):
And also later, in the judicial one,
the judicial two, and in the brotherly brothers.
What role do you play there?
Well, none of them play a role, to be honest.
In the Lucarda and the mansion of madness,
it was an extra role.
But in the judicial and the villager,
(13:57):
I had a chance, so I had a big action,
a big action.
What did you say?
Oh, pah!
But I'm also a painter, damn it.
Yeah, it was cool.
And he goes meta, and I think it kind of proves the point
of who he was as a guy, right?
He kind of was a showman at heart.
Yeah, a showman at heart.
(14:18):
A street performer, talked about Charlie Chaplin,
how great of an actor he was.
And he gets very, very defensive of his career,
especially when Petra is like,
well, you're just a clown, you're out there on the street.
And he's like, I'm an actor!
I'm not a clown, I'm an actor!
You know, he gets...
It's interesting you say that, because it's like,
(14:39):
was this his movie to express himself?
Like, hey, I'm not really crazy, I'm just an entertainer.
Yeah, that's what I was telling Joey.
So there's maybe a little theme there.
That's probably what he was trying to do.
Like, almost hard to see, like, is he really acting here?
I don't think he was after that.
Yeah, I...
Is it like the drunk scene?
I'm pretty sure he was drunk, yeah.
(15:00):
Yeah, that's true.
The whole movie, he's drunk, and it's like,
no, he's not acting.
I mean, if he's acting, then they should have
gave him an Academy Award, because I mean,
he's pretty spot-on for how a drunk I would act.
Exactly, yeah.
And in every single situation that he's in,
that he's having conversations.
He's always got a hole!
I ain't got a hole!
I ain't got a hole!
I ain't got a hole!
I kept thinking, maybe I need to get drunk
to understand his movie more.
(15:22):
Yeah, because...
So it is weird, because the first half is,
you know, like we said, this is this guy,
he's street performing, and then the cops show up
and fucking blast one of the street performers
for getting the little kid high.
Oh, yeah.
Vas a ver que con un toque,
se te van a olvidar todos tus problemas.
¿Y qué es eso?
Es otro pedo.
Vas a ver que me lo vas a agradecer.
(15:43):
Vas a sentir que vuelas.
Vas a ver, te va a gustar.
Pero yo no quiero volar.
No tengas miedo, ahorita te va a gustar.
Vas a ver.
No, no me gusta.
No quiero.
Te va a gustar.
Vas a llegar hasta allá arriba.
(16:04):
No quiero llegar hasta allá arriba.
Ay, güey.
Párate!
Adónde vas, cabrón.
Dime que nada.
Por favor no me maten.
Yo no hice nada.
¿Quién te la pasó, hijo de la chingada?
¡Pues soy la!
¿Cuál soy la?
¡La puta del mario viejo!
¡Pero no me maten!
(16:27):
Yeah, he's like, hey, like we'll get you up into the sky.
I don't want to go up into the sky.
And then the cops show up and fucking blast this.
The cops just show up.
They don't like, you know, whatever.
Cabrón.
Instant justice, man.
Yeah, like no questions asked.
He just fucking blasted.
I mean, then it cuts to a scene of Don Ramón's neighbors just having sex.
(16:51):
And then they get rated.
And like, what was the point of her getting rated?
Something about she was selling drugs or the husband was selling drugs.
The husband was a drug dealer.
Yeah, and I think she was an accomplice.
So she gets locked up.
And then the little girl stays with the neighbor of theirs or the friend of theirs.
And then they call her La Liendra.
(17:13):
Yeah, or Liendre.
Yeah, Liendre.
But that kind of story goes nowhere.
I mean, they do like the interrogation and she has like her little monologue in the prison cell.
And that's kind of it.
That's where it feels incomplete.
It's like, I think there's more to her than just that.
Right.
And like later on in the movie, they show a scene where she's talking to Petra in the jail.
(17:37):
And then Petra leaves and then the guard shows up and says, hey, where's my where's my video?
I don't know.
Like there had to have been some kind of like sub context there.
Exactly.
Like a story.
More than like it was incomplete.
That's why there's so much going on in the movie throughout the movie.
Like, okay, so now the warden is shaking her down for money.
Yeah.
(17:58):
Yeah.
Okay, so I'm confused here.
Like where does this whole story come from?
And to you guys listening, this is all in the span of like 25 minutes.
Like this is still like the beginning of the movie.
This is the part where I'm like opening my second can of soda.
I'm like, what the fuck is going on?
Yeah, I gotta be honest.
I was scrolling on my phone, but then I was like, okay, let me put the phone down and kind of try to concentrate.
(18:19):
But then I'm like, what's going on?
I'm like so lost.
It took me, I'm not gonna lie.
It took me three watches to complete this.
Four for me.
Yeah.
I don't know if you watched it in one go.
No, no.
I think maybe like four, I would say at least.
Yeah.
Alfonso's notebook was full.
Yeah.
It's not even about other stuff.
It's the whole Alignments.
(18:40):
I mean, it's a crazy movie.
I mean, I can see why there's such a demand to want to watch this movie because it's quote
unquote lost, which again, it's not lost.
But I think this kind of falls into that category of it's lost or slash forgotten for a reason
because it's just, it's not a great movie until it gets great because it's the first half
(19:03):
makes no sense.
And then once we get to the part of the story that is supposed to be the tamalera, that's
when it gets good.
That's when the whatever, where's it?
Chikulada that full shows up and he's like, sorry.
It looked like an Anton Leves.
He did look like Anton Leves.
And he obviously is because he's supposedly like Satanic.
Yeah.
They called him a Satanist.
(19:24):
Anarco Satanico.
Yeah.
That's what they called him.
Yeah.
And that's when you start seeing more of Maktuzuma's old school visuals.
You start seeing a bunch of crazy people walking around.
Blood is all over the place.
Yeah.
There's like a scene at the slaughterhouse.
That's a slaughterhouse.
Vegans beware.
It's hard to watch.
I could say that.
(19:46):
I could say that.
Trigger war.
Trigger war.
Yeah.
From, you know, put me nail me to the cross.
But yeah, so there's like a slaughterhouse scene.
It's pretty fucked up.
There's like cows are getting skinned and stuff like that.
And then because of this fool is like having like a blood ritual by himself, like butt
naked in the middle of this butcher house.
(20:08):
That scene came on.
I was like, well, okay, what the hell is going on here?
This is Maktuzuma right here.
That's what it gets good.
That's like the turning point for me.
That's like the last 40 minutes.
Yeah.
He's having like a blood ritual, drinking blood, smearing that all over his naked body.
And then the butchers that work at the shop are like, fuck this fool.
They just start beating them up.
(20:30):
Yeah.
It's pretty funny too.
Like it's not supposed to be funny, but I couldn't stop laughing because it's just like
ridiculous.
Like what is going on?
It's such a 180 shit from the first half of the movie when that happens.
And then he just goes home, goes back to Don Ramon's house and he just starts having sex
with his wife.
With Petra.
Yeah, with Petra.
Yeah, these are having an affair and then.
(20:52):
Yeah.
And then what happens?
That's when the girl gets killed, right?
Yeah.
They don't really like show it.
They don't show it.
I don't know if you cut like how the little girl dies or what.
I wrote down like she was like kind of shaking her like that because they were having sex.
Like she caught them.
She caught them.
So she's like, I'm a teacher and everything.
(21:14):
She's shaking her and then kind of throws her down.
The picture is so dark.
Like I couldn't see how really.
Yeah, it was pretty dark.
But it looked like she.
Yeah, her head in the back of her.
Like the corner of her cabinet or something like that.
I just heard like a thunk.
Yeah.
And then she falls down.
And then that's when the Chikula, I was like, okay, let's make some tamales.
Yeah, because Petra is known for her tamales.
But then, yeah, yeah.
(21:36):
And we all know how that goes.
Yeah, and that's the good part of the movie.
I think that's what everyone hopes the movie's going to be.
And sorry to disappoint everyone, but that's not what the movie is.
Yeah, you don't see them making the tamales.
You only see like one scene where they eat tamales and then you're like, oh, here's a body part.
And that's the scene with Petra in front of Junior.
(21:57):
Yeah, that's what we're going to get to right there.
That's the scene where he's at a party and he's just singing and she brings the tamales.
And she's like, oh, I didn't have enough to make you the 250 tamales.
What was good meat is I ran out.
Yeah, she was already out of the meat by then.
And then this girl, you know, chomping on a tamale and boom, sure enough, she takes a bite in a fucking big-ass finger just in the middle of a tamale.
(22:24):
It's a finger, yeah.
Which, uh...
I mean, that's something that can really happen when you think about it.
I mean, it's...
I'm sure it's happened before.
Yeah, I mean, you know, I'm sure there's worse things to put in a tamale,
but I think that's a pretty plausible idea that someone is killing fools and using them to make tamales, I would say.
Fuck, man, I really want some tamales. I was just thinking about that the other day.
(22:46):
I was like, I really want some tamales.
Are you with tamales? I gotta be honest, I'm not really into tamales.
Only during the holidays.
I'm not even like...
Just during the holidays, not every year, but... I mean, the whole year, but...
Yeah, during the holidays, I'm like, fuck, tamales sound good.
So when I was watching this movie, I was like, fuck.
It was a good tamale.
Yeah, yeah, yeah, yeah.
Yeah, I don't have that.
But it's nothing that, like, I'll go to a place and order, like...
(23:08):
For me, it's just more of a holiday.
It's like Christmas time, it's like, okay, I kind of am down with some tamales, but throughout the whole year, nah.
I'm not even into that, honestly.
Like, for some reason, like, I guess growing up, you know, going to Mexico, the tamales that my grandma and whoever they used to buy it from were so fucking good.
And then, you know, you eat them here, and no disrespect to my mom, but her tamales just don't...
They don't let it candle to the tamales that we were eating, you know, in the little pueblitos there.
(23:33):
But she's gonna get offended when she hears this.
She's gonna be like, the man had to kill kids to make good tamales.
She doesn't even know this podcast exists, but...
She's never gonna hear this.
Someone's gonna tell her and be like, wow, okay.
Joey's talking.
You're gonna see the clothing of children on the floor and blood.
Nah, I'm just joking.
One thing I did notice, this was kind of one of the notes that I wrote down that I emphasized, that I wanted to emphasize was,
(23:59):
I think, and Armando, you know, you probably know better, but I think this is his only movie shot in Spanish, right?
Because Alucada was dubbed in Spanish.
I believe so. When you think about it, yeah.
When you think about it, yeah, because everything was always English.
Manchin of madness was English.
But it got dubbed in Spanish.
And then, you know, to kill a stranger is...
(24:20):
I believe it's Canadian, you know, I'm sure someone's gonna...
Canadian coporation.
Email us, tell us how stupid I am for not knowing what you're going to do.
Yeah, good call right there, yeah, because I didn't realize I don't talk right now, actually, yeah.
Which is kind of crazy, I think, because he got his start in the mid-70s, so it took him 20 years to shoot a movie in his native tongue.
Yeah, I don't know what the decision was to do it that way, but...
I guess just because of the production, I would say, because when you look at the production, it's very low budget, it's just in the fucking streets, you know.
(24:47):
Or maybe just because of, you know, hoping to hit a mainstream, and maybe by the time this movie came around, he was just like,
fuck it, I'm gonna...
And it's in the 90s, so that's... 90s is what they call the decline of the cinema, so, you know, low budget.
It wasn't really a market, so...
There was no market, no international market wanted to touch that, probably.
And I'm sure it wouldn't have done well anyway, sorry, but this movie's not that good.
(25:10):
It's really not, I'm just gonna flat out say this movie is not good.
Yeah, so, I mean, so give me your thoughts, Armando, I know you kind of got into it a little bit with some people online about, you know,
lost or found or why don't you share it?
I hate that whole lost media aspect, because sometimes when they say lost media, it's just something that they can't find.
(25:31):
And that doesn't mean it's lost, it's just hard to find.
Lost is like when it's gone completely.
Like, let's say elements of London after midnight, for example, the vampire movie, that's lost.
Which is kind of funny too, because historians are on record saying that that movie was not great.
That was another thing, that's what's funny too.
It's so historic because of the image of Lon Cheney, but it's like the movie itself was not good, which I find funny,
(25:57):
because I don't know if you've seen the little composite that they made of London after midnight with all the steals,
and they just kind of made it like a stop motion movie.
But yeah, Lost film, no, this is not Lost.
Yeah, it's not a Lost film, it's just unreleased.
It's unreleased and maybe finished.
And maybe for a good reason, because it's just not good.
(26:19):
Yeah, I don't know, what about you, Fon?
Did you like this movie? How would you rate this movie?
I actually liked it. I thought it was, it took me, I had to restart it several, a couple of times to watch the beginning all over again.
But then, I guess for me, I was almost in tune with the music aspect of it.
(26:43):
So I wrote notes whenever a new scene would come on, like when the cops are interrogating the kid and stuff,
and this like crazy piano piece came on with like the scat vocal.
Yeah, yeah.
(27:23):
I'm just playing.
If you kill me, I'll kill you!
No, baby!
No, no, no, baby!
Yeah, I wrote, oh my god, this is cool, right?
So, just to touch base, Alfonso, when he says he's writing, he actually did write it in a notebook.
He didn't type it in our notepad on his phone, he actually wrote it.
(27:44):
This pen, the paper, yeah, I think this one is nine pages long.
That's why I thought it was a book about, oh, those are his notes.
I wrote a lot of incoherent notes because I didn't know what the hell was going on, but I...
I was excited to watch it, you know, so, I mean, you guys were as well, of course, but I was like,
(28:05):
I'm gonna like take some copious notes on this, you know?
I think I just kind of, I didn't start that way, I just sat down to kind of watch it,
and then, first time, I think I fell asleep 15 minutes into it.
Yeah, I think that was me too.
And then, when I was like, okay, we're gonna be talking about this in a couple weeks.
(28:26):
I better buckle down, and so I know what I'm talking about.
That's when I started kind of writing everything down, and kind of seeing the scene,
and just for my own memory.
And but, I enjoyed it. I thought it was, once I knew the story,
like you said, halfway through the movie when the hotama thing comes around,
(28:47):
and I knew, like, oh, that's what's happening.
But yeah, it's definitely not gonna be a criterion release.
Yeah, it's no other part of it for sure.
It's no other part, it's no man should have madness, because man should have madness is probably my favorite one, actually.
See, and I haven't seen that one in forever.
I need to revisit that one.
(29:08):
Yeah, that's definitely worth the revisit.
It's really fucking good though. That's probably my favorite of all.
I mean, I'll look hard as cool, but me personally, man should have madness.
You don't have to watch that one.
Me personally, it's like, you don't have to watch it.
I mean, open the fluggy, it's prepared, because people are gonna ask for it.
If you ever get a copy, maybe. Okay, go for it. Yeah, watch it, but you're not gonna like it.
You're gonna be like, what the fuck, that's it.
So here's a question that I wanted to bring up, because I have strong opinions about this,
(29:32):
and I've kind of gotten, you know, shit talked to about this,
but how do you feel about gatekeeping this movie?
Like, Armando, you start first.
Like, do you think this is a movie that should be gate kept, or what are your thoughts?
I mean, whoever has the rights to just put them out, get it over with.
I feel like maybe the reason why they're withholding it, it's just because it's so incomplete,
(29:55):
and it's like, do people want to watch it? It's like, if people want to watch it, just put it out.
Yeah.
And then let people think what they want, you know, or say what they want,
because either way, people are gonna hate it or love it, so, you know, there's no reason to gatekeep.
I mean, me personally, I'm not gatekeeping, like people think I'm gatekeeping it because I have a copy,
but it's like, I just don't want, you know, any legal problems for my first sake, you know.
Yeah, absolutely.
That's why. People think I'm being like mean or something, but it's like, no, it's like, I just don't want to get in trouble.
(30:19):
I don't want this shit getting back to me, you know.
I don't want some cheap lawyer from Mexico hitting me up, who never got his degree,
and this is me calling out a lawyer that I know, but yeah.
But, you know, I just don't want no problem, so that's why, so, just, you know,
No, that's smart.
That's smart.
That's what, you know.
Of course, you guys saw it because I shared it with you guys, and then they deleted it from what I heard.
(30:43):
Yeah, oh, yeah.
I actually deleted it.
It's officially a lost film because I deleted it from my hard drive.
It wiped off from the hard drive.
Wait, what about you, Fonz?
What do you think about gatekeeping?
Like, do you think this is a movie that should be gate kept or do you think gatekeeping is,
I don't know, I guess, I don't know how to articulate myself here, but do you think gatekeeping is like a good thing
(31:09):
or a bad thing in terms of movies like this that are not necessarily lost but forgotten,
and probably, I don't know how many people have access to this movie, but definitely not many people have seen this, yeah.
No, like, it's one of those things like Armando was saying, I agree with him that if it's something that the director,
the filmmakers wanted people to watch, I think, like he said, yeah, let's people enjoy it,
(31:34):
make up their own mind about it and see what they think and formulate their own opinions,
but if it's something that's incomplete, he died a year after the movie was made,
so I don't know if he was like, oh.
Even happy with this.
I'd be happy with it, you know, like, no, that's not how I wanted the movie to start or whatever or the ending of it,
(32:02):
so, you know, I kind of side with the wishes of the filmmaker, but as a fan, you know, of course, you know, I want to see it.
Later down.
And it's a farewell, like, on my review on my website, I put down, it feels like a farewell of his, you know,
like, this is me saying goodbye to you all, you know, this is my story, I'm not crazy, you know, I just like entertaining people,
(32:26):
which is the theme of this movie.
Right, he was.
This feels like a farewell, like, when I was watching him, like, this feels like a farewell,
because there's so many nods to his older movies too, so it's like, this is his farewell,
and then sure enough, yeah, he died like a year after it was made, so it's like, people need to see, you know,
should see his farewell, even though it's not good, like me, I didn't like it, but people should still see it,
it's like, hey, you know, this is my farewell, you know.
(32:48):
I'm sure he would want people to see it.
I'm sure he definitely wants people to see it.
I think I've gotten into arguments about gay-key.
I do think gay-keeping is kind of a necessary evil, not to say that, you know, ha-ha, fuck you guys, you guys can't watch it, I got it, but...
Right.
That's not how I am, people think I'm like that, but that's not me.
I think, I just think, you know, movies like this, like, I don't know, it's like, you're walking a fine line,
(33:14):
like, people should go out and kind of do their own research about it, right, you know, you go find a copy of it,
and like, I don't want to be the one that's, like Armando said, spreading this out and getting in trouble for spreading it out,
like, I do think people are gonna fall into the hype of this movie, I think their expectation for this movie is probably way higher than what this movie delivers.
(33:36):
It's very, yeah, people think this is gonna be the next Alucard or something, but it's like, no, it's not.
It is drastically, it is, yeah, yeah.
Apples and oranges.
Yeah, exactly.
Nothing like Alucard or that at all, or anything that, you know, I haven't seen his, Mary Mary, Bloody Mary or anything like that,
(33:57):
but totally different.
Yeah, this is...
Like I said, this one kind of gave me the Santa Sangre kind of vibes, and like, we were seeing, I don't know if I think it was off air,
but very Hodorowski, very surreal type imagery, and the whole thing within the slaughterhouse with the dude kneeling down naked, drinking blood.
(34:21):
I'm like, oh my god, that's something Hodorowski would have put in one of his movies.
For sure, for sure.
Yeah.
But, yeah.
Okay, well, that's a good, I think that's a good, you know, end point to Alimento del Miedo.
People probably aren't gonna get the chance to watch this, so I don't feel too bad about spoiling certain things about it.
(34:43):
The next one, we're gonna try not to spoil it because we have a special event going on around this movie, so...
Me and Fanz are gonna talk a little bit about Alucarda, obviously, this is probably his most famous movie, I would say.
Most well-known.
His most well-known movie.
Probably one of the most iconic Mexican horror films that are made.
(35:05):
So, yeah, let's kind of go through it.
We're not gonna spoil it, but, you know, we'll discuss it a little bit here.
One thing I did see, I saw on the Mondo Macabro DVD on the bonus features, every time on the special features, it said 1975, but online it also says 1977.
(35:27):
So, I'm assuming, Armando, that this is kind of the same thing as usual, is made in 75, but released in 77.
Yeah, and like I said, it's always the case because of censorship, and more than likely that's what it was, because of the religious aspect, and it being so violent.
So, it probably took him a while to rate this, first of all, to watch the movie, and then to rate it, or even consider it.
And at that time, the government was pretty fucking weird at the time, so they were being really strict about what they want out, what they want the Mexican people to see.
(35:55):
So, more than likely that was the case, and then two years later, that's when it came out.
Yeah, so, okay, so I guess we'll call it 77, just for the sake of saying that's when it was widely released.
Yeah, I mean, 75, 77, that's not too far, far, anyway.
Okay, so, Alucarda, 1977, it stars Tina Romero, who, I don't know if she had many more credits outside of Alucarda, but it also stars Susana Camini, who was a frequent,
(36:23):
a Maktizuma collaborator, Claudio Brooke, who, you know, many people would know that worked with Del Toro, Arturo Ripstein, another guy, I think he did somewhat Buñuel too.
David Silva, who was a frequent Hodorowski collaborator.
Yeah, he's a very famous Mexican actor.
Very famous Mexican actor, yeah. Over 100 credits to his name.
(36:46):
And my favorite part about it is that it falls under the perfect runtime, 78 minutes.
Yeah, this doesn't feel so short, but it really is short.
It's short, and it's very concise, and it gets, it literally, it starts, and it doesn't end until that final sequence, which is one of my favorite sequences of all time.
Yeah, that's a good one.
Very curious, but yeah, let's go over Alucarda.
(37:11):
So, I mean, it's basically the, I guess, the short plot of the movie is, you know,
a girl, Alucarda, meets a new girl, Justine, who's played by Susana Camini, and they kind of just develop a relationship as, you know, you know.
They're friends.
Yeah, friends.
They're friends.
(37:32):
You know, you're Tia and Harume kind of deal.
Yeah, it blurs the line a little bit.
In other words, it's pretty obvious that we're like a lesbian going.
Oh, I mean, that's the, and it's right away.
Like there's no, like, I gotta get to know you a little bit.
She's just like right away.
Yeah, there's an instant connection.
I love you.
We need to, you know, make a pact.
(37:53):
I'm Alucarda.
My name is Justine.
What's that?
My mother and my father.
Mama just died.
I never met my mother or my father.
Oh, I'm sorry.
I have something to show you, too.
These are things I never show anyone.
These are secrets.
Every day I find a new secret.
(38:15):
It just happens.
It comes to me.
This, for instance, it means I like you.
And this, do you know how small creatures love each other?
(38:36):
No.
I'll show you.
I'll take you to the garden, to the woods.
Everything is there.
Yeah, they see like a traveling gypsy who happened to be the guy who was at Alucarda's
birth.
And they, after that, they, like you said, they make like a pact on they're going to
die together and whatnot.
And the gypsy played by Claudio Brooke, which is amazing because yeah, he's an amazing,
(39:02):
of course, and very, very prominent Mexican actor and ton of credits also.
But yeah, he also plays the doctor, which is pretty cool.
He does both double duties, man.
He's a chief mariner before chief mariner.
Yeah.
His voice is so rich to you're just like, once he speaks, you really want to hear what
he says.
He just has that rich voice.
(39:23):
Like a distinguished voice.
Yeah, a distinguished, and even in Spanish, like he speaks English in this movie, obviously,
but even in Spanish, it's just very distinguished.
And like, you know, you actually want to pay attention to this guy.
Yeah.
Yeah.
So I mean, without spoiling it, I mean, I guess you can, you kind of already know what
this movie is about, right?
You know, it's deals with vampirism.
It deals with religion, lesbianism, Catholicism.
(39:47):
Yeah.
Mental illness, I would say too.
There's a lot of mental illnesses.
I would say so.
I mean, I guess mental illness kind of blurs the line with blind faith.
I would, in my opinion, I would say.
Yeah, yeah, yeah.
But yeah, like the nuns that are in there, like they're non-conventional nuns.
(40:09):
They look like mummies more than nuns.
They're all wrapped up.
Yeah, they're all wrapped up.
It looks like bandages, but they're not even bandages.
Yeah, I don't even know.
Like it's like paper mache costume.
And then just to go real quick back on Alimento, did you guys notice that some of the slimes
were lit like that?
Yeah, they lit, yeah.
So that was another knot.
Oh my goodness, I didn't catch that.
Yeah.
So outside of the slaughterhouse, the, you know, Maktuzuma, he's walking with one of the
(40:31):
slaughterhouse workers.
And I was like, this looks like one of the nuns from Alucardia.
Oh, funny.
With the blood stains on the wardrobe and everything.
I wouldn't doubt if it was leftover wardrobe from 20 years prior and they just like put
it on.
Yeah, it looked pretty odd.
I got no money for costume design.
He's like, I still have this.
Yeah.
So yeah, I mean, Alucardia, like we said, you know, they make packs together and there's
(40:56):
a pivotal scene, I think, which is kind of like the turning point is right after they
make that pact, they're in like the little classroom where the nun, you know, was like
giving her a little speech or her teachings or whatever.
And Alucardia kind of goes crazy on her and starts talking about Satan and stuff like
that.
Oh, that's the part where she's like spinning around and like, yeah.
(41:17):
That was like my ex-girlfriend going crazy.
And when I saw that scene, I was like, why does this remind me of so and so?
Name, drop, name, drop, name, drop.
But yeah.
And then after that, it's like, oh, fucking hell breaks loose.
There's like an orgy with a bathroom.
That's that.
Oh, yeah.
That's it.
(41:38):
Okay.
So yeah, but the visuals are beautiful.
Yeah.
Oh, absolutely.
Yeah.
I think they really do play well against, you know, I guess like the commentary of what
they're trying to make with everything like the whole sexual revolution type stuff, lesbianism,
like we said.
(41:59):
There's just a lot of great imagery and it kind of makes you wonder what Maktuzuma's
real thoughts were on the Catholic Church.
Yeah.
There's a lot of obviously like him hating the church probably.
And then I don't know, I felt like a glorified Satanism.
I don't know how you guys, but it felt like it was glorifying it a little bit.
Glorifying Satanism.
(42:19):
I don't know.
Just an stance on organized religion or just, you know, kind of the blind faith like you
were saying, you know.
It was more agreeing to the evil stuff than the good stuff.
I don't know.
Yeah.
And there's even like, you know, when the doctor, he's like, you know, he comes in and stops
the exorcism.
Oh, yeah.
And he's like, this is nonsense.
(42:40):
Yeah.
He's ridiculous.
And then he eventually kind of turns into kind of believing into this whole, I don't
know what the word is, I'm trying to look for, but you know, I guess he kind of converts
from being, you know, scientific to being, you know, religious.
Yeah.
To believe in the faith.
Yeah.
Because he's more of like, he's more of a, yeah, believing into science and real life
(43:04):
for say, and then all of a sudden he's like, oh, maybe there is a God or something.
Yeah.
Some kind of shit going on here.
And I guess that kind of happens when he realizes that his daughter's in trouble, that he left
his daughter alone with, with that little guy.
He's like, oh, shit.
He tells it back home.
She's alone.
But but yeah, no, it's, I just, the visuals, the music, of course.
(43:29):
Of course.
Yeah.
The opening music.
Wow.
It's pretty sweet.
One thing I saw, I don't know.
I don't know.
I mean, Armando, maybe you know, I saw that.
Yeah.
This was Edith Gonzalez's first role.
Yeah.
She was very little.
She plays.
And you kind of barely recognize her at first.
Like you kind of have to really look and yeah, she's right there.
(43:49):
She's super young.
She's probably like maybe 12, 11 years old.
She's very little in this movie.
But that's one of her first roles.
One of the kids in the town.
One of the kids.
Oh yeah.
Yeah.
You guys are one of the kids.
You can recognize her because of her eyes, you know.
Yeah.
But yeah, that's one of her first movies actually.
And you guys should know Edith Gonzalez because we talked about her on the last episode.
She's in Hell's Trap.
Yeah.
She's in Hell's Trap.
And I mean, Armando says it all the time, but all these Mexican actors, man, they're
(44:10):
continuously playing roles in every fucking movie that's released.
Like they're always popping up.
And in this case, since she was a child, see.
There you go.
See.
It's got to start a meal.
So yeah, I mean, I don't know.
It's hard to talk about this without spoiling it.
I know.
(44:30):
I know.
That's what it was like.
Yeah, I'm glad because there's so much to say, but it's like, let's save it for the
screening.
But if, yeah, if we don't want to spoil it, how can people watch it, Joey?
Well, they can buy a ticket online.
We're going to be screening this as a rendezvous event at the Frida Cinema, same place that
we're, Armando's doing Hell's Trap.
(44:50):
The Frida Cinema.
Well, it would have passed by the time you listened to this episode.
But at the Frida Cinema, November 14th, we have, you know, some nice things in there.
We're going to have like a pre-show with all the DJs.
We'll be spinning, like we said, a lot of music.
rendezvous is a very...
So what is rendezvous?
So, for people to know.
Yeah, let's, you know what, that's a good point.
(45:12):
Let's talk, let's do a little breakdown of what rendezvous is.
How is a rendezvous event going down?
Obviously, you guys are showing a little bit of card up, but what is a rendezvous event
in a whole?
So rendezvous started, I was doing the math the other day, 17 years ago.
This coming January will be 17 years since our first event.
And we were originally just a DJ collective focusing on, you know, more obscure soundtracks
(45:38):
and that sort of thing.
And then shortly after we started, we brought the movie element into it just to get people
to our bar earlier.
And we're like, how about if we screen a movie beforehand and then we, you know...
Crack the brews and get some drinks going, the movie's over, and then the DJs start up.
And that's when the real night starts.
(46:00):
So that's how it originally started.
And throughout the years, we've added more DJs to our collective.
And we, our movie screenings have become legit in the sense that we now get the rights for
the movie instead of just screening them bootleg style.
You gotta do that though, once in a while.
(46:23):
Right.
Exactly.
I mean...
Gotta stay punk rock every now and then.
Yeah.
But so now, so I would say when people ask me that, I say we're a DJ collective, but
we do music and film events.
So unlike, you know, a normal movie where you just go to the movie and you watch the movie
(46:44):
and you leave, this one at a rendezvous event, you get there a little early and you listen
and we have turntable set up, we're playing all vinyl records, most of them original pressings,
very expensive records, especially if you look into Joey's bag.
Well, I blame you.
(47:05):
I've spent way too much money over the course of the last, I don't know, I've known you
for what, 15 years now?
Yeah.
And in those 15 years, I've spent a ridiculous amount of money on records.
Joey could have had a nice house up in the hills.
Yeah, probably could have, up in the West Covina Heights.
West Covina Heights?
By now, but no, now he has all his money on records.
(47:26):
But yeah, so we play records before the movie, the movie starts and we, you know, everybody
watches that and then when the movie's over, we continue playing records well into the
night.
Yeah, I think it's important too, and I mean, I don't know if we've ever had this discussion,
you and I, but, you know, soundtracks are integral to movies.
(47:48):
You know, they can really drive what's happening on screen.
So it, to me, it's always been important to kind of celebrate the music with the movie.
And that's kind of when I first found rendezvous, that's what attracted me to it.
You know, actually, I was thinking about it the other day, the first rendezvous event
that I ever went to was when you guys were screening the Eurocrime documentary.
(48:11):
Oh, yes.
And I was like blown away.
I was like, holy shit, people actually listen to this besides me.
Like this is crazy.
And I fell in love with it.
And so I think it's important that when people think of rendezvous, you know, they know that
it's two things.
It's not just a movie screening and it's not just DJ's playing records, right?
(48:35):
They're like, they coincide with each other.
So you know, when you get there, when the door is open, I don't know the exact time,
but you guys can see on the show notes, I have the link set up to so you guys can buy tickets
and all the information.
But when the door is open, you know, we're going to be there.
We'll be selling DVDs and stuff and playing music.
(48:56):
And that's literally the first thing when you enter a rendezvous event, you're going
to hear music.
You're going to see Alfonso first.
I don't know why, but every time I go, you're going to see Alfonso first.
It's because he's the first one there.
He's the one that sets up the tour table.
He's the first and he's the Joey and then if Ethan's there, you see him.
You see everybody there and it's cool because, you know, they're all here to play the music
and obviously shows a really fucking cool movie.
(49:17):
And it's a good time all around.
The few that I've been to, they've been always been really fun and very like, you know, you
guys are always chill.
You guys are communicating with everybody.
You guys aren't just on the stage or just playing records.
You guys are like, you know, mingling with everyone there, you know.
So it's awesome.
So I'm a fan of that.
First the main thing is we like to build a little community and I think we have in the
(49:38):
last, you know, I would say so.
We have our regulars.
We always have, you know, random heads that pop up.
But everyone that does show up regularly.
I mean, we're, you know, we've all become friends.
I mean, even when we were doing the online stuff, like we, right, people became friends,
people in Ohio were friends with people in Seattle or, you know, in Europe.
Yeah.
They like flew like after COVID flying to go visit each other because they met each other
(50:03):
online at a rendezvous online screening, you know, which was crazy to see.
But yeah, that's the whole point, you know, is just to bring people together.
If you're listening to this podcast, obviously you like, you have some interest and you have
some interest in that sort of thing.
And it's a small world of collectors.
(50:24):
It's a small world of, you know, film fans who like this sort of a sort of genre type
of movie, films and stuff like that.
So why not get together and combine forces and, you know, just do fun things and watch
it.
Yeah, you can go to the movies, but have some fun after or before even the movie.
(50:45):
Right.
Yeah, come to and come watch a movie that's not fucking generic, right?
I mean, you know, come celebrate Mexican movies, come celebrate Mexican genre.
Juan Lopez, Mike Dizuma, great filmmaker who, you know, probably doesn't get enough credit
as he deserves.
If you miss the chance to watch this when Abraham Castillo wink wink.
(51:06):
I was there.
That was fucking great.
I mean, to watch this, I've watched, I mean, I've watched this plenty of times, but the
first time I saw it in a theater was at the Academy when Abraham brought the Magical Manicado
and watching that in that theater was fucking epic.
And before the movie, he schooled us on everything we needed to know.
Mike Dizuma, Alucarda, well, I'm glad you mentioned that because speaking of Abraham,
(51:31):
yeah, speaking of him, he is, we asked him to create a little introduction presentation
on Alucarda and Magica Dizuma for us for this next coming event.
So Abraham Castillo Flores will be, it's a, he's unfortunately not in person, but he's
(51:54):
sending us a, probably about a 10 minute, I would say, his Santasangra intro for us.
I hope it's long because you can hear him talk.
It's cool.
Yeah.
Anyone who hasn't sat in in one of his lectures is sorely missing out because Abraham knows
his shit.
He does.
Yeah.
You guaranteed you will learn something before you watch this movie.
(52:14):
Yeah.
Honestly, when I saw it at the Academy Museum, I was like, oh, I didn't even know about this
and this and this.
Yeah.
I mean, he's, I mean, it's like walking.
It's like, that was pretty awesome.
Yeah.
And so if you miss that at the Academy, now's your chance because I don't know how many
times this is going to screen in a theater in the LA area, the Orange County area.
(52:37):
So you know, please, you know, not only support the Frida Cinema because they allow us to do
such cool things like screen Alucarda and, you know, bring turntables into a theater and
DJ, but it's fucking, it's Alucarda, man.
Those who have seen Alucarda know how good this is and those who haven't.
It's probably the first place you should go see it at a theater.
(52:59):
At 1000 percent.
Yes.
So please look out, look at the show notes, get the link is going to be there so you guys
can buy tickets.
I actually bought one earlier today, so I'll be there.
We've sold one ticket, guys.
We've sold one ticket.
So with that, yes, please buy a ticket, come show up, say hi, you know, make some new friends
(53:24):
and enjoy, enjoy what what Maktuzuma thought would be a lovely Thursday night screening.
Yes.
It'll be very of Maktuzuma theme night.
I mean, if we all love Alucard, we're kind of a little crazy, I think.
Yeah, I agree.
I agree.
Right?
Well, not Alfonso.
Alfonso's a scholar.
He's the one that's watching us crazy.
(53:46):
Yeah, if you listen to Alfonso's laugh because you'll hear it in the back of the theater,
for sure.
Yeah, you know, which is kind of like the rendezvous trademark, right?
We're always sitting in the back laughing, having a good time in front watching the movie.
The other day, I think it was, oh, we're at Beyond Fest and we're getting shushed by
a fellow.
(54:07):
Yeah, we're at a terrifying.
Yeah, we're being shushed.
How dare you talk over a fucking chainsaw.
I know, you guys got shushed by the tariff hire screening.
We did.
It's high art, man.
It's high art.
But yeah, so yeah, that's our thing.
We're always in the back of the bar or the theater or whatever.
And then hollering and laughing and talking.
(54:30):
Talking to you.
Talking to you.
Having a good time watching a movie.
So Alfonso, where can people find you online?
I know we didn't say during the intro, but those you guys may know him because he's
doing he does the the after hours at the Severin Films podcast.
So you guys might be familiar with Alfonso already, but those who are not, where can
they find you personally, your DJ page and then, you know, plug the rendezvous page?
(54:54):
Right.
So very easy on Instagram.
It's at DJ Alfonso and with an F.
What was that?
With an F.
Yes.
And with an S, some people spell it with a Z.
Yeah, that's weird.
ZO.
ZO.
So, yeah.
And then the rendezvous is rendezvous underscore LA.
(55:18):
So Google rendezvous if you don't know how to spell it.
A little tricky.
It's French.
I honestly still have to do that.
I'll be like, did I spell it right?
And then I'll look around.
Don't forget the underscore between rendezvous underscore LA.
That's where they can find us and we'll have a link for the tickets for the free day event
on our rendezvous LA Instagram page.
(55:39):
What day is it on again?
Yeah.
It's Thursday, November 14th.
November 14th.
That's a Thursday night, which I personally love Thursday nights because you still have
your weekend ahead of you.
And I mean, let's be honest, who's working hard on Friday anyway.
Yeah, everyone's checked out.
Right?
Exactly.
So it's a kind of the first day of the weekend, in my opinion.
(56:01):
That's a work night for me, but I'm still going to call.
I'm excited.
I mean, like when's the, I mean, aside from Hellstrap, we're going to see a next freaking
horror movie on the big screen.
Come on, gotta go.
You don't need to see Terrifier 3 again.
Don't say that out loud, man.
You might, you know, people are terrifier freaks.
I know what's I'm staring one in the face right now.
(56:24):
Big shout out to Jimmy because we are recording in Jimmy's house right now.
So thank you, Jimmy, for hosting us.
Where does Jimmy live again?
West Covina Heights.
West Covina Heights.
Yeah.
It's the nice part of West Covina Heights.
As always, you can find me on Instagram as Cheta Brown and of course, Armando.
You should know if you don't know what Armando's Instagram is, how do you know?
(56:45):
I always, like I said, every four people be like, you have Instagram?
You have a podcast now?
You have a blog?
I'll be like, yeah, what do you think I've been doing all this time?
You gotta like actively not search.
It's just funny because I get that.
But now let me see what you were saying earlier about the whole gatekeeping thing.
I said, guys, come on, don't be lazy.
Yeah.
(57:06):
I'm just a little research.
That's all I'm asking.
That's all I'm asking.
Send some emails, I'll make some phone calls.
And I'm sure I'll get some hate mail for being a pro gatekeeping.
But guys, please just do a little bit of research.
Just pretend like you care enough to try to find something.
That's all I'm asking for.
If you find it, let's have a discussion about it.
(57:28):
Don't email us at TrashmaxPodcast at Gmail asking for this file.
Yeah.
Email us cool stuff, suggestions, order fan love, whatever.
Yeah.
I mean, ask questions, but please don't ask for links and free copies of movies and stuff.
That's not fun.
And it kind of defeats the purpose of being part of this thing.
(57:51):
It makes me uncomfortable.
I get anxious and then I just get like panicked.
No, I'm just joking.
And yeah, so this will be the end of episode four.
And look out because eventually we will have another episode with the rest of the rendezvous
crew and that's going to be a special episode.
We're going to have everybody, right?
Yeah.
We're going to try to get everybody.
(58:12):
That's kind of why we haven't done it yet, but we're going to try to get everyone.
And that's going to be a really special episode.
So please look out for that.
We got other episodes coming up in the mix.
Yeah.
You know, keep listening.
Please rate, subscribe, comment.
You know, the whole shebang, the rigamarole of the podcast.
If you guys really like the podcast, give us a rating, comment, whatever.
(58:36):
You know, that way we feel like we're doing something.
I mean, obviously we get downloads and everything, but you know, but do let us know.
It makes it feel like, you know, we're doing something constructive.
But if we're on episode four, I think we're doing pretty good.
I've been enjoying the podcast.
I gotta say.
Thank you.
It's been like a, we've been experimenting with what we want to do and so forth.
(58:56):
And yeah, we've been on a pretty good road so far.
Who knows what lies ahead?
Yeah, who knows?
I mean, it's not a monthly episode structure, not a weekly episode structure.
When inspiration comes, we'll get them out.
So far it's been monthly though, honestly.
Yeah, it has been monthly.
It's been weird though.
I say that it won't be, but it has been.
I know, but then it feels like it's not though.
That's the same time.
(59:16):
Like it's already almost November and we started with August?
Yeah, August.
It's so weird.
Time flies.
Yeah.
When you're having a good time, time flies.
So with that everyone, we'll let you be.
Hope you guys enjoyed the episode.
Please rate, subscribe, comment, everything.
And yeah, come watch a Luccarla.
Try to find Alimento del Miedo.
(59:38):
I know you won't, but try anyways.
And we'll see you guys for episode five.
What's going to be episode five?
I'm just...
You'll hear the trailer now.
We'll release it soon.
Hello everybody, welcome to the trash mix podcast. This is uh, what is this episode Joey episode four episode four?
Crazy right people people are loving it man. They're tuning in for first one, you know, it was a sweaty summer day
And now it's a cool kind of a cool
(00:51):
Mid-fall kind of weather but today it's a special episode because not only are we with Joey here, of course
Yes, sir. We have a special guest and this guy is actually in charge of Joey sort of sort of he's my he's my butt
I call him in
It's none other than Alfonso Carrillo of rendezvous say hello Alfonso. Hello everybody. Thank you guys for having me
(01:14):
Yeah, thanks for having us and what are we gonna talk about today Joey? So today? I figured we would do an episode on a
Colt figure in Mexican cinema
People know him for
Couple of his movies that are kind of crazy, but we're only gonna break down to today
And he is none other than Juan Lopez
(01:36):
Maktesuma
And what's the title the title is gonna be?
Juan Lopez Maktesuma lost and found
Very nice
It's gonna be awesome so lost and found so one movie is found but there's lost material and the other movie is supposedly lost
But I mean if it's lost how can we saw it?
(01:59):
Exactly. I think a good way to put it is that this is
Maktesuma's Magnum Opus and his Swan Song right?
Yeah, it's like it's farewell the one that we're gonna first talk about and then the other one is like
The opener of his career basically
Yeah, so let's let's just get right into it Armando who was Juan Lopez Maktesuma?
He was a Mexican filmmaker
(02:21):
He was a Mexican filmmaker from the 70s and part of the 80s right I believe
Yeah, and then he had like a mental breakdown during the 90s, right?
Based on the movie that we watched that's from the 90s. I would say that that's a pretty accurate description
I know how I was wondering how much he was a taxi
But then it makes sense. It makes sense stuff because it's like his earlier movies were really fucking crazy
(02:45):
You got Mansion of Manus, which is about crazy people
Yeah, that's a banger too. What was the bloody Mary?
Yeah, Mary Mary, Bloody Mary. I've never seen that one, but I know people have told me it's pretty fucking wild
That's the only of his that I haven't seen. I don't know if you've seen it in Foxy. I haven't seen it yet
Honestly, I haven't seen the other one too. Tequila Stranger, right? Tequila Stranger
I don't know if that's a Canadian release, but it plays like a kind of a stale
(03:07):
Gialo like a like a thriller serial killer type of movie. It's it's okay
Probably out of the the four that I've seen of his probably my least favorite I would say yeah, yeah
crazy films crazy guy and
Then he's very famous stuff for one of the movies I were to talk about
(03:28):
Which is Alucarda
Alucardada
Your grandma knows that movie my art teacher knows that movie
That's everyone that I feel like that's everyone's like a have you seen Alucardada?
That's everyone's like a chip right there. They're all in on that one
But there's a reason why I mean it's really we'll break it down in a moment
But for now we're actually gonna break down with
(03:50):
Alimento del miedo which is from 1994. I believe ya 1994
Yeah, 94. Yeah, and it's supposedly considered lost if you go to YouTube and you type it in there's these videos where they're like
What happened to Alimento del miedo?
The love the lost one, you know, my to zoom a film and then you're just like okay, and you watch it
It's just some bullshit that they made up
(04:12):
Yeah, I mean I think I think that's a good discussion right there, you know, is this a lost film or is it a forgotten film?
I think I would put it in the ladder. I think it's just a forgotten film
Probably unreleased for sure. That's probably the better term
It's not a lost film because obviously we've all seen it, right? Yeah
(04:33):
So let's let's kind of let's go into it a little bit Alimento del miedo which you know translates to you know the food of fear
As Armando said released in 1994. That's what one year before
Maktuzumas death, right?
And it stars is aura espinosa who people would know from ratas en la ciudad
(04:54):
Pedro Navaja and playa prohibida which we kind of talked about a little bit in the our guest episode
Little boy in the movie. I'll infer now. No, he actually comes out in her and see a diabolica. Oh, is it?
Yeah, the killer clan. Oh, yeah
He's in that. Yeah, he's in the Alen Fernando. Yeah. Yeah, it all yeah. Oh, yeah
Phenomenal actors as a child for sure
(05:15):
It also stars none other than Juan Lopez Maktuzumas the lead as don Ramon and
It also stars
Salvador Sanchez who's in canoa and El Infierno, which is another you know co-classic Mexican film and
One of the things that I noticed in the title card something was Pedro infante junior
(05:38):
Oh my god, he's barely in the movie so he's barely in the movie in the whole the whole time
I was like, where the fuck how is better infante junior in this movie?
It makes no sense and then you know, he shows up at the end
We'll talk about that a little bit later
But when I was searching online because as well as watching this I was like where is this guy?
I got I was googling like better infante junior
(06:00):
Alimento de miedo
Nothing, it's not even on the IMDb credits. I could not find anything that he was actually in the letterbox, right?
I he's not even on the one I'm not even on the literally nowhere it says that he's in this movie except for the title cards
That totally caught me off guard
And she introduces them because he plays himself. Yeah, exactly. Yeah
(06:21):
Was like really
Like how did he how did Maktuzuma like
No, it's because he probably didn't even tell him that what this movie was about
He's like, hey, can you like sing for us a little bit? I mean, that's kind of what he is. Yeah, right
I did find it funny that his dad shows up on a t-shirt too
You know everyone
(06:43):
on a fucking tie-dye t-shirt no less, but
Basically alimento del miedo is a movie that's
Loosely or not loosely I guess loosely based on a real story
of a lady who killed her husband and used his
His flesh for tamales to sell to sell on the streets
(07:06):
Yeah working like plot for a movie and I guess that's one way to get rid of the body
Yeah, I guess so the story goes is that you know at her husband her, you know husband was abusive to her and her kids
Right, she got tired of it
Beat him upside the head with a baseball bat killed him and didn't know what to do with his body
So she just decided fucking I'm gonna chop it up into little, you know pieces of meat and cook it up
(07:28):
And we'll put it in some tamales. I mean that's the circle of life
But anyways, yeah, so it's loosely based on that and I say loosely because this movie is
Incoherent as fuck. Yeah. Oh my goodness. It took me like four times to understand it on his yeah
(07:49):
Yeah, that's why the first time when I first watched it when I first got like a copy of it
I'm like what the fuck am I watching the first what 40 50 minutes?
I would say are just make no sense to me
It's it's hard to follow because I feel like there's no real structure to the movie in
That's in that time span
I
(08:10):
Kept thinking this has to be a workprint like there's no way that this is like an actual completed film for my understanding
Yeah, it's not complete like some footage was shot and then maybe the rest wasn't shot
I believe I don't remember exactly the details, but I know it's definitely not a complete film person
Yeah, so even then it's like unreleased and complete
There's probably a reason why it's not out. Yeah, I would say so way
(08:32):
It starts off too with like that the the credits spray painted out graffiti pretty yeah
Right on the walls and center block and cement and everything and in that music the music was actually really good in this
Yeah, yeah, I'm always like listening to like okay, that's cool visuals, but let's listen to the music
(08:55):
Yeah, yeah, and so so for those who don't know fans is is the creator of rendezvous the crew here, so
Well, yeah, he listens to the music very closely
Yeah, and I would say as long as I've known you you you prefer the more like
Soundscapes over right like that's like your thing you you love like the soundscapes and stuff like that
(09:15):
Yeah, yeah instead of like the catchy tune. Yeah, exactly
Yeah, the sound design and just the weird kind of and this soundtrack was very
Very of our guard. Oh, absolutely. I could even eat there's a one scene where it's like a French
Shansong with like this crazy piano behind it and like these staccato strings and then
(09:37):
But like the beginning of the movie totally gave me I don't know if you guys thought of this
Santa sangria vibes
Circus thing theme and like the music and the main character being like a performer, so right right
That was that was kind of one of my notes the great soundtrack something like one of the notes that I took away from this was that
(09:58):
For those who don't know
Maktuzuma kind of work got into films through Hodorowski
But this almost feels like the closest to a Hodorowski movie that anyone can get yeah, so
And makes no sense and tries to be artistic in the cheapest ways possible. Yeah. Yeah
Yeah, yeah, it's like the you said it's like a traveling like I guess circus of gypsies
(10:21):
I don't even know what you would consider them right the right right
Yeah, the little boy is like a you know has his face painted throughout most most of the whole movie. Yeah, right
(10:54):
Oh
(11:21):
Very very low
Like very poor poor area of Mexico City, I guess is where yeah, what if they like a vest in the
What did they keep calling it like
And it shows because it kind of looks like a like a trauma post apocalyptic
(11:44):
Everywhere the buildings are all brandish it and yeah
and
Yeah, so he basically plays like a showman and it shows throughout the entire movie because I don't
I'm sure you guys remember this there's a scene in this where he
He I don't I don't even know who this guy was wasn't it?
El Choco Choco
What the hell was his name?
(12:05):
Chiquilada Chiquilada. Yeah, this random dude shows up and he brings into his house
And he's like I was an actor and he goes meadow. He's like I was in this movie a look at the
Oh
Was it his primo that he kept calling him his primo
I don't know. Maybe like an expression or something. I don't know one something like that. They're close. Yeah. Yeah, they were close
(12:27):
Yeah, and yeah, I caught that word right at the very beginning I
When he's the wife is better I was talking to don Ramon in the room and and you see the other guard up
In the background yeah, he's not showing a positive like he's put the other guy the poster even put up the
Was the mansion of madness poster to is on there
(12:49):
Yeah, and then he kept referencing on the director Rafael Villas and your curry like oh that was my friend and yeah and sure
Never in real life. They were friends. Yeah, but then yeah, that's the area like I was in a movie called out of guard
I had mansion of madness director was such a
Good
Oh
Sweetie
I sexy, don't you fear to get back into hoe on lucky
(13:12):
Oh, I will just cancel cost is important
price important unquote
Rhino but as case in Las Cosas van 42
In a apare Sherlock
Arda he dimension to the l'occountry director
whole mente
But Chifladaso, Chifladaso.
(13:35):
And also later, in the judicial one,
the judicial two, and in the brotherly brothers.
What role do you play there?
Well, none of them play a role, to be honest.
In the Lucarda and the mansion of madness,
it was an extra role.
But in the judicial and the villager,
(13:57):
I had a chance, so I had a big action,
a big action.
What did you say?
Oh, pah!
But I'm also a painter, damn it.
Yeah, it was cool.
And he goes meta, and I think it kind of proves the point
of who he was as a guy, right?
He kind of was a showman at heart.
Yeah, a showman at heart.
(14:18):
A street performer, talked about Charlie Chaplin,
how great of an actor he was.
And he gets very, very defensive of his career,
especially when Petra is like,
well, you're just a clown, you're out there on the street.
And he's like, I'm an actor!
I'm not a clown, I'm an actor!
You know, he gets...
It's interesting you say that, because it's like,
(14:39):
was this his movie to express himself?
Like, hey, I'm not really crazy, I'm just an entertainer.
Yeah, that's what I was telling Joey.
So there's maybe a little theme there.
That's probably what he was trying to do.
Like, almost hard to see, like, is he really acting here?
I don't think he was after that.
Yeah, I...
Is it like the drunk scene?
I'm pretty sure he was drunk, yeah.
(15:00):
Yeah, that's true.
The whole movie, he's drunk, and it's like,
no, he's not acting.
I mean, if he's acting, then they should have
gave him an Academy Award, because I mean,
he's pretty spot-on for how a drunk I would act.
Exactly, yeah.
And in every single situation that he's in,
that he's having conversations.
He's always got a hole!
I ain't got a hole!
I ain't got a hole!
I ain't got a hole!
I kept thinking, maybe I need to get drunk
to understand his movie more.
(15:22):
Yeah, because...
So it is weird, because the first half is,
you know, like we said, this is this guy,
he's street performing, and then the cops show up
and fucking blast one of the street performers
for getting the little kid high.
Oh, yeah.
Vas a ver que con un toque,
se te van a olvidar todos tus problemas.
¿Y qué es eso?
Es otro pedo.
Vas a ver que me lo vas a agradecer.
(15:43):
Vas a sentir que vuelas.
Vas a ver, te va a gustar.
Pero yo no quiero volar.
No tengas miedo, ahorita te va a gustar.
Vas a ver.
No, no me gusta.
No quiero.
Te va a gustar.
Vas a llegar hasta allá arriba.
(16:04):
No quiero llegar hasta allá arriba.
Ay, güey.
Párate!
Adónde vas, cabrón.
Dime que nada.
Por favor no me maten.
Yo no hice nada.
¿Quién te la pasó, hijo de la chingada?
¡Pues soy la!
¿Cuál soy la?
¡La puta del mario viejo!
¡Pero no me maten!
(16:27):
Yeah, he's like, hey, like we'll get you up into the sky.
I don't want to go up into the sky.
And then the cops show up and fucking blast this.
The cops just show up.
They don't like, you know, whatever.
Cabrón.
Instant justice, man.
Yeah, like no questions asked.
He just fucking blasted.
I mean, then it cuts to a scene of Don Ramón's neighbors just having sex.
(16:51):
And then they get rated.
And like, what was the point of her getting rated?
Something about she was selling drugs or the husband was selling drugs.
The husband was a drug dealer.
Yeah, and I think she was an accomplice.
So she gets locked up.
And then the little girl stays with the neighbor of theirs or the friend of theirs.
And then they call her La Liendra.
(17:13):
Yeah, or Liendre.
Yeah, Liendre.
But that kind of story goes nowhere.
I mean, they do like the interrogation and she has like her little monologue in the prison cell.
And that's kind of it.
That's where it feels incomplete.
It's like, I think there's more to her than just that.
Right.
And like later on in the movie, they show a scene where she's talking to Petra in the jail.
(17:37):
And then Petra leaves and then the guard shows up and says, hey, where's my where's my video?
I don't know.
Like there had to have been some kind of like sub context there.
Exactly.
Like a story.
More than like it was incomplete.
That's why there's so much going on in the movie throughout the movie.
Like, okay, so now the warden is shaking her down for money.
Yeah.
(17:58):
Yeah.
Okay, so I'm confused here.
Like where does this whole story come from?
And to you guys listening, this is all in the span of like 25 minutes.
Like this is still like the beginning of the movie.
This is the part where I'm like opening my second can of soda.
I'm like, what the fuck is going on?
Yeah, I gotta be honest.
I was scrolling on my phone, but then I was like, okay, let me put the phone down and kind of try to concentrate.
(18:19):
But then I'm like, what's going on?
I'm like so lost.
It took me, I'm not gonna lie.
It took me three watches to complete this.
Four for me.
Yeah.
I don't know if you watched it in one go.
No, no.
I think maybe like four, I would say at least.
Yeah.
Alfonso's notebook was full.
Yeah.
It's not even about other stuff.
It's the whole Alignments.
(18:40):
I mean, it's a crazy movie.
I mean, I can see why there's such a demand to want to watch this movie because it's quote
unquote lost, which again, it's not lost.
But I think this kind of falls into that category of it's lost or slash forgotten for a reason
because it's just, it's not a great movie until it gets great because it's the first half
(19:03):
makes no sense.
And then once we get to the part of the story that is supposed to be the tamalera, that's
when it gets good.
That's when the whatever, where's it?
Chikulada that full shows up and he's like, sorry.
It looked like an Anton Leves.
He did look like Anton Leves.
And he obviously is because he's supposedly like Satanic.
Yeah.
They called him a Satanist.
(19:24):
Anarco Satanico.
Yeah.
That's what they called him.
Yeah.
And that's when you start seeing more of Maktuzuma's old school visuals.
You start seeing a bunch of crazy people walking around.
Blood is all over the place.
Yeah.
There's like a scene at the slaughterhouse.
That's a slaughterhouse.
Vegans beware.
It's hard to watch.
I could say that.
(19:46):
I could say that.
Trigger war.
Trigger war.
Yeah.
From, you know, put me nail me to the cross.
But yeah, so there's like a slaughterhouse scene.
It's pretty fucked up.
There's like cows are getting skinned and stuff like that.
And then because of this fool is like having like a blood ritual by himself, like butt
naked in the middle of this butcher house.
(20:08):
That scene came on.
I was like, well, okay, what the hell is going on here?
This is Maktuzuma right here.
That's what it gets good.
That's like the turning point for me.
That's like the last 40 minutes.
Yeah.
He's having like a blood ritual, drinking blood, smearing that all over his naked body.
And then the butchers that work at the shop are like, fuck this fool.
They just start beating them up.
(20:30):
Yeah.
It's pretty funny too.
Like it's not supposed to be funny, but I couldn't stop laughing because it's just like
ridiculous.
Like what is going on?
It's such a 180 shit from the first half of the movie when that happens.
And then he just goes home, goes back to Don Ramon's house and he just starts having sex
with his wife.
With Petra.
Yeah, with Petra.
Yeah, these are having an affair and then.
(20:52):
Yeah.
And then what happens?
That's when the girl gets killed, right?
Yeah.
They don't really like show it.
They don't show it.
I don't know if you cut like how the little girl dies or what.
I wrote down like she was like kind of shaking her like that because they were having sex.
Like she caught them.
She caught them.
So she's like, I'm a teacher and everything.
(21:14):
She's shaking her and then kind of throws her down.
The picture is so dark.
Like I couldn't see how really.
Yeah, it was pretty dark.
But it looked like she.
Yeah, her head in the back of her.
Like the corner of her cabinet or something like that.
I just heard like a thunk.
Yeah.
And then she falls down.
And then that's when the Chikula, I was like, okay, let's make some tamales.
Yeah, because Petra is known for her tamales.
But then, yeah, yeah.
(21:36):
And we all know how that goes.
Yeah, and that's the good part of the movie.
I think that's what everyone hopes the movie's going to be.
And sorry to disappoint everyone, but that's not what the movie is.
Yeah, you don't see them making the tamales.
You only see like one scene where they eat tamales and then you're like, oh, here's a body part.
And that's the scene with Petra in front of Junior.
(21:57):
Yeah, that's what we're going to get to right there.
That's the scene where he's at a party and he's just singing and she brings the tamales.
And she's like, oh, I didn't have enough to make you the 250 tamales.
What was good meat is I ran out.
Yeah, she was already out of the meat by then.
And then this girl, you know, chomping on a tamale and boom, sure enough, she takes a bite in a fucking big-ass finger just in the middle of a tamale.
(22:24):
It's a finger, yeah.
Which, uh...
I mean, that's something that can really happen when you think about it.
I mean, it's...
I'm sure it's happened before.
Yeah, I mean, you know, I'm sure there's worse things to put in a tamale,
but I think that's a pretty plausible idea that someone is killing fools and using them to make tamales, I would say.
Fuck, man, I really want some tamales. I was just thinking about that the other day.
(22:46):
I was like, I really want some tamales.
Are you with tamales? I gotta be honest, I'm not really into tamales.
Only during the holidays.
I'm not even like...
Just during the holidays, not every year, but... I mean, the whole year, but...
Yeah, during the holidays, I'm like, fuck, tamales sound good.
So when I was watching this movie, I was like, fuck.
It was a good tamale.
Yeah, yeah, yeah, yeah.
Yeah, I don't have that.
But it's nothing that, like, I'll go to a place and order, like...
(23:08):
For me, it's just more of a holiday.
It's like Christmas time, it's like, okay, I kind of am down with some tamales, but throughout the whole year, nah.
I'm not even into that, honestly.
Like, for some reason, like, I guess growing up, you know, going to Mexico, the tamales that my grandma and whoever they used to buy it from were so fucking good.
And then, you know, you eat them here, and no disrespect to my mom, but her tamales just don't...
They don't let it candle to the tamales that we were eating, you know, in the little pueblitos there.
(23:33):
But she's gonna get offended when she hears this.
She's gonna be like, the man had to kill kids to make good tamales.
She doesn't even know this podcast exists, but...
She's never gonna hear this.
Someone's gonna tell her and be like, wow, okay.
Joey's talking.
You're gonna see the clothing of children on the floor and blood.
Nah, I'm just joking.
One thing I did notice, this was kind of one of the notes that I wrote down that I emphasized, that I wanted to emphasize was,
(23:59):
I think, and Armando, you know, you probably know better, but I think this is his only movie shot in Spanish, right?
Because Alucada was dubbed in Spanish.
I believe so. When you think about it, yeah.
When you think about it, yeah, because everything was always English.
Manchin of madness was English.
But it got dubbed in Spanish.
And then, you know, to kill a stranger is...
(24:20):
I believe it's Canadian, you know, I'm sure someone's gonna...
Canadian coporation.
Email us, tell us how stupid I am for not knowing what you're going to do.
Yeah, good call right there, yeah, because I didn't realize I don't talk right now, actually, yeah.
Which is kind of crazy, I think, because he got his start in the mid-70s, so it took him 20 years to shoot a movie in his native tongue.
Yeah, I don't know what the decision was to do it that way, but...
I guess just because of the production, I would say, because when you look at the production, it's very low budget, it's just in the fucking streets, you know.
(24:47):
Or maybe just because of, you know, hoping to hit a mainstream, and maybe by the time this movie came around, he was just like,
fuck it, I'm gonna...
And it's in the 90s, so that's... 90s is what they call the decline of the cinema, so, you know, low budget.
It wasn't really a market, so...
There was no market, no international market wanted to touch that, probably.
And I'm sure it wouldn't have done well anyway, sorry, but this movie's not that good.
(25:10):
It's really not, I'm just gonna flat out say this movie is not good.
Yeah, so, I mean, so give me your thoughts, Armando, I know you kind of got into it a little bit with some people online about, you know,
lost or found or why don't you share it?
I hate that whole lost media aspect, because sometimes when they say lost media, it's just something that they can't find.
(25:31):
And that doesn't mean it's lost, it's just hard to find.
Lost is like when it's gone completely.
Like, let's say elements of London after midnight, for example, the vampire movie, that's lost.
Which is kind of funny too, because historians are on record saying that that movie was not great.
That was another thing, that's what's funny too.
It's so historic because of the image of Lon Cheney, but it's like the movie itself was not good, which I find funny,
(25:57):
because I don't know if you've seen the little composite that they made of London after midnight with all the steals,
and they just kind of made it like a stop motion movie.
But yeah, Lost film, no, this is not Lost.
Yeah, it's not a Lost film, it's just unreleased.
It's unreleased and maybe finished.
And maybe for a good reason, because it's just not good.
(26:19):
Yeah, I don't know, what about you, Fon?
Did you like this movie? How would you rate this movie?
I actually liked it. I thought it was, it took me, I had to restart it several, a couple of times to watch the beginning all over again.
But then, I guess for me, I was almost in tune with the music aspect of it.
(26:43):
So I wrote notes whenever a new scene would come on, like when the cops are interrogating the kid and stuff,
and this like crazy piano piece came on with like the scat vocal.
Yeah, yeah.
(27:23):
I'm just playing.
If you kill me, I'll kill you!
No, baby!
No, no, no, baby!
Yeah, I wrote, oh my god, this is cool, right?
So, just to touch base, Alfonso, when he says he's writing, he actually did write it in a notebook.
He didn't type it in our notepad on his phone, he actually wrote it.
(27:44):
This pen, the paper, yeah, I think this one is nine pages long.
That's why I thought it was a book about, oh, those are his notes.
I wrote a lot of incoherent notes because I didn't know what the hell was going on, but I...
I was excited to watch it, you know, so, I mean, you guys were as well, of course, but I was like,
(28:05):
I'm gonna like take some copious notes on this, you know?
I think I just kind of, I didn't start that way, I just sat down to kind of watch it,
and then, first time, I think I fell asleep 15 minutes into it.
Yeah, I think that was me too.
And then, when I was like, okay, we're gonna be talking about this in a couple weeks.
(28:26):
I better buckle down, and so I know what I'm talking about.
That's when I started kind of writing everything down, and kind of seeing the scene,
and just for my own memory.
And but, I enjoyed it. I thought it was, once I knew the story,
like you said, halfway through the movie when the hotama thing comes around,
(28:47):
and I knew, like, oh, that's what's happening.
But yeah, it's definitely not gonna be a criterion release.
Yeah, it's no other part of it for sure.
It's no other part, it's no man should have madness, because man should have madness is probably my favorite one, actually.
See, and I haven't seen that one in forever.
I need to revisit that one.
(29:08):
Yeah, that's definitely worth the revisit.
It's really fucking good though. That's probably my favorite of all.
I mean, I'll look hard as cool, but me personally, man should have madness.
You don't have to watch that one.
Me personally, it's like, you don't have to watch it.
I mean, open the fluggy, it's prepared, because people are gonna ask for it.
If you ever get a copy, maybe. Okay, go for it. Yeah, watch it, but you're not gonna like it.
You're gonna be like, what the fuck, that's it.
So here's a question that I wanted to bring up, because I have strong opinions about this,
(29:32):
and I've kind of gotten, you know, shit talked to about this,
but how do you feel about gatekeeping this movie?
Like, Armando, you start first.
Like, do you think this is a movie that should be gate kept, or what are your thoughts?
I mean, whoever has the rights to just put them out, get it over with.
I feel like maybe the reason why they're withholding it, it's just because it's so incomplete,
(29:55):
and it's like, do people want to watch it? It's like, if people want to watch it, just put it out.
Yeah.
And then let people think what they want, you know, or say what they want,
because either way, people are gonna hate it or love it, so, you know, there's no reason to gatekeep.
I mean, me personally, I'm not gatekeeping, like people think I'm gatekeeping it because I have a copy,
but it's like, I just don't want, you know, any legal problems for my first sake, you know.
Yeah, absolutely.
That's why. People think I'm being like mean or something, but it's like, no, it's like, I just don't want to get in trouble.
(30:19):
I don't want this shit getting back to me, you know.
I don't want some cheap lawyer from Mexico hitting me up, who never got his degree,
and this is me calling out a lawyer that I know, but yeah.
But, you know, I just don't want no problem, so that's why, so, just, you know,
No, that's smart.
That's smart.
That's what, you know.
Of course, you guys saw it because I shared it with you guys, and then they deleted it from what I heard.
(30:43):
Yeah, oh, yeah.
I actually deleted it.
It's officially a lost film because I deleted it from my hard drive.
It wiped off from the hard drive.
Wait, what about you, Fonz?
What do you think about gatekeeping?
Like, do you think this is a movie that should be gate kept or do you think gatekeeping is,
I don't know, I guess, I don't know how to articulate myself here, but do you think gatekeeping is like a good thing
(31:09):
or a bad thing in terms of movies like this that are not necessarily lost but forgotten,
and probably, I don't know how many people have access to this movie, but definitely not many people have seen this, yeah.
No, like, it's one of those things like Armando was saying, I agree with him that if it's something that the director,
the filmmakers wanted people to watch, I think, like he said, yeah, let's people enjoy it,
(31:34):
make up their own mind about it and see what they think and formulate their own opinions,
but if it's something that's incomplete, he died a year after the movie was made,
so I don't know if he was like, oh.
Even happy with this.
I'd be happy with it, you know, like, no, that's not how I wanted the movie to start or whatever or the ending of it,
(32:02):
so, you know, I kind of side with the wishes of the filmmaker, but as a fan, you know, of course, you know, I want to see it.
Later down.
And it's a farewell, like, on my review on my website, I put down, it feels like a farewell of his, you know,
like, this is me saying goodbye to you all, you know, this is my story, I'm not crazy, you know, I just like entertaining people,
(32:26):
which is the theme of this movie.
Right, he was.
This feels like a farewell, like, when I was watching him, like, this feels like a farewell,
because there's so many nods to his older movies too, so it's like, this is his farewell,
and then sure enough, yeah, he died like a year after it was made, so it's like, people need to see, you know,
should see his farewell, even though it's not good, like me, I didn't like it, but people should still see it,
it's like, hey, you know, this is my farewell, you know.
(32:48):
I'm sure he would want people to see it.
I'm sure he definitely wants people to see it.
I think I've gotten into arguments about gay-key.
I do think gay-keeping is kind of a necessary evil, not to say that, you know, ha-ha, fuck you guys, you guys can't watch it, I got it, but...
Right.
That's not how I am, people think I'm like that, but that's not me.
I think, I just think, you know, movies like this, like, I don't know, it's like, you're walking a fine line,
(33:14):
like, people should go out and kind of do their own research about it, right, you know, you go find a copy of it,
and like, I don't want to be the one that's, like Armando said, spreading this out and getting in trouble for spreading it out,
like, I do think people are gonna fall into the hype of this movie, I think their expectation for this movie is probably way higher than what this movie delivers.
(33:36):
It's very, yeah, people think this is gonna be the next Alucard or something, but it's like, no, it's not.
It is drastically, it is, yeah, yeah.
Apples and oranges.
Yeah, exactly.
Nothing like Alucard or that at all, or anything that, you know, I haven't seen his, Mary Mary, Bloody Mary or anything like that,
(33:57):
but totally different.
Yeah, this is...
Like I said, this one kind of gave me the Santa Sangre kind of vibes, and like, we were seeing, I don't know if I think it was off air,
but very Hodorowski, very surreal type imagery, and the whole thing within the slaughterhouse with the dude kneeling down naked, drinking blood.
(34:21):
I'm like, oh my god, that's something Hodorowski would have put in one of his movies.
For sure, for sure.
Yeah.
But, yeah.
Okay, well, that's a good, I think that's a good, you know, end point to Alimento del Miedo.
People probably aren't gonna get the chance to watch this, so I don't feel too bad about spoiling certain things about it.
(34:43):
The next one, we're gonna try not to spoil it because we have a special event going on around this movie, so...
Me and Fanz are gonna talk a little bit about Alucarda, obviously, this is probably his most famous movie, I would say.
Most well-known.
His most well-known movie.
Probably one of the most iconic Mexican horror films that are made.
(35:05):
So, yeah, let's kind of go through it.
We're not gonna spoil it, but, you know, we'll discuss it a little bit here.
One thing I did see, I saw on the Mondo Macabro DVD on the bonus features, every time on the special features, it said 1975, but online it also says 1977.
(35:27):
So, I'm assuming, Armando, that this is kind of the same thing as usual, is made in 75, but released in 77.
Yeah, and like I said, it's always the case because of censorship, and more than likely that's what it was, because of the religious aspect, and it being so violent.
So, it probably took him a while to rate this, first of all, to watch the movie, and then to rate it, or even consider it.
And at that time, the government was pretty fucking weird at the time, so they were being really strict about what they want out, what they want the Mexican people to see.
(35:55):
So, more than likely that was the case, and then two years later, that's when it came out.
Yeah, so, okay, so I guess we'll call it 77, just for the sake of saying that's when it was widely released.
Yeah, I mean, 75, 77, that's not too far, far, anyway.
Okay, so, Alucarda, 1977, it stars Tina Romero, who, I don't know if she had many more credits outside of Alucarda, but it also stars Susana Camini, who was a frequent,
(36:23):
a Maktizuma collaborator, Claudio Brooke, who, you know, many people would know that worked with Del Toro, Arturo Ripstein, another guy, I think he did somewhat Buñuel too.
David Silva, who was a frequent Hodorowski collaborator.
Yeah, he's a very famous Mexican actor.
Very famous Mexican actor, yeah. Over 100 credits to his name.
(36:46):
And my favorite part about it is that it falls under the perfect runtime, 78 minutes.
Yeah, this doesn't feel so short, but it really is short.
It's short, and it's very concise, and it gets, it literally, it starts, and it doesn't end until that final sequence, which is one of my favorite sequences of all time.
Yeah, that's a good one.
Very curious, but yeah, let's go over Alucarda.
(37:11):
So, I mean, it's basically the, I guess, the short plot of the movie is, you know,
a girl, Alucarda, meets a new girl, Justine, who's played by Susana Camini, and they kind of just develop a relationship as, you know, you know.
They're friends.
Yeah, friends.
They're friends.
(37:32):
You know, you're Tia and Harume kind of deal.
Yeah, it blurs the line a little bit.
In other words, it's pretty obvious that we're like a lesbian going.
Oh, I mean, that's the, and it's right away.
Like there's no, like, I gotta get to know you a little bit.
She's just like right away.
Yeah, there's an instant connection.
I love you.
We need to, you know, make a pact.
(37:53):
I'm Alucarda.
My name is Justine.
What's that?
My mother and my father.
Mama just died.
I never met my mother or my father.
Oh, I'm sorry.
I have something to show you, too.
These are things I never show anyone.
These are secrets.
Every day I find a new secret.
(38:15):
It just happens.
It comes to me.
This, for instance, it means I like you.
And this, do you know how small creatures love each other?
(38:36):
No.
I'll show you.
I'll take you to the garden, to the woods.
Everything is there.
Yeah, they see like a traveling gypsy who happened to be the guy who was at Alucarda's
birth.
And they, after that, they, like you said, they make like a pact on they're going to
die together and whatnot.
And the gypsy played by Claudio Brooke, which is amazing because yeah, he's an amazing,
(39:02):
of course, and very, very prominent Mexican actor and ton of credits also.
But yeah, he also plays the doctor, which is pretty cool.
He does both double duties, man.
He's a chief mariner before chief mariner.
Yeah.
His voice is so rich to you're just like, once he speaks, you really want to hear what
he says.
He just has that rich voice.
(39:23):
Like a distinguished voice.
Yeah, a distinguished, and even in Spanish, like he speaks English in this movie, obviously,
but even in Spanish, it's just very distinguished.
And like, you know, you actually want to pay attention to this guy.
Yeah.
Yeah.
So I mean, without spoiling it, I mean, I guess you can, you kind of already know what
this movie is about, right?
You know, it's deals with vampirism.
It deals with religion, lesbianism, Catholicism.
(39:47):
Yeah.
Mental illness, I would say too.
There's a lot of mental illnesses.
I would say so.
I mean, I guess mental illness kind of blurs the line with blind faith.
I would, in my opinion, I would say.
Yeah, yeah, yeah.
But yeah, like the nuns that are in there, like they're non-conventional nuns.
(40:09):
They look like mummies more than nuns.
They're all wrapped up.
Yeah, they're all wrapped up.
It looks like bandages, but they're not even bandages.
Yeah, I don't even know.
Like it's like paper mache costume.
And then just to go real quick back on Alimento, did you guys notice that some of the slimes
were lit like that?
Yeah, they lit, yeah.
So that was another knot.
Oh my goodness, I didn't catch that.
Yeah.
So outside of the slaughterhouse, the, you know, Maktuzuma, he's walking with one of the
(40:31):
slaughterhouse workers.
And I was like, this looks like one of the nuns from Alucardia.
Oh, funny.
With the blood stains on the wardrobe and everything.
I wouldn't doubt if it was leftover wardrobe from 20 years prior and they just like put
it on.
Yeah, it looked pretty odd.
I got no money for costume design.
He's like, I still have this.
Yeah.
So yeah, I mean, Alucardia, like we said, you know, they make packs together and there's
(40:56):
a pivotal scene, I think, which is kind of like the turning point is right after they
make that pact, they're in like the little classroom where the nun, you know, was like
giving her a little speech or her teachings or whatever.
And Alucardia kind of goes crazy on her and starts talking about Satan and stuff like
that.
Oh, that's the part where she's like spinning around and like, yeah.
(41:17):
That was like my ex-girlfriend going crazy.
And when I saw that scene, I was like, why does this remind me of so and so?
Name, drop, name, drop, name, drop.
But yeah.
And then after that, it's like, oh, fucking hell breaks loose.
There's like an orgy with a bathroom.
That's that.
Oh, yeah.
That's it.
(41:38):
Okay.
So yeah, but the visuals are beautiful.
Yeah.
Oh, absolutely.
Yeah.
I think they really do play well against, you know, I guess like the commentary of what
they're trying to make with everything like the whole sexual revolution type stuff, lesbianism,
like we said.
(41:59):
There's just a lot of great imagery and it kind of makes you wonder what Maktuzuma's
real thoughts were on the Catholic Church.
Yeah.
There's a lot of obviously like him hating the church probably.
And then I don't know, I felt like a glorified Satanism.
I don't know how you guys, but it felt like it was glorifying it a little bit.
Glorifying Satanism.
(42:19):
I don't know.
Just an stance on organized religion or just, you know, kind of the blind faith like you
were saying, you know.
It was more agreeing to the evil stuff than the good stuff.
I don't know.
Yeah.
And there's even like, you know, when the doctor, he's like, you know, he comes in and stops
the exorcism.
Oh, yeah.
And he's like, this is nonsense.
(42:40):
Yeah.
He's ridiculous.
And then he eventually kind of turns into kind of believing into this whole, I don't
know what the word is, I'm trying to look for, but you know, I guess he kind of converts
from being, you know, scientific to being, you know, religious.
Yeah.
To believe in the faith.
Yeah.
Because he's more of like, he's more of a, yeah, believing into science and real life
(43:04):
for say, and then all of a sudden he's like, oh, maybe there is a God or something.
Yeah.
Some kind of shit going on here.
And I guess that kind of happens when he realizes that his daughter's in trouble, that he left
his daughter alone with, with that little guy.
He's like, oh, shit.
He tells it back home.
She's alone.
But but yeah, no, it's, I just, the visuals, the music, of course.
(43:29):
Of course.
Yeah.
The opening music.
Wow.
It's pretty sweet.
One thing I saw, I don't know.
I don't know.
I mean, Armando, maybe you know, I saw that.
Yeah.
This was Edith Gonzalez's first role.
Yeah.
She was very little.
She plays.
And you kind of barely recognize her at first.
Like you kind of have to really look and yeah, she's right there.
(43:49):
She's super young.
She's probably like maybe 12, 11 years old.
She's very little in this movie.
But that's one of her first roles.
One of the kids in the town.
One of the kids.
Oh yeah.
Yeah.
You guys are one of the kids.
You can recognize her because of her eyes, you know.
Yeah.
But yeah, that's one of her first movies actually.
And you guys should know Edith Gonzalez because we talked about her on the last episode.
She's in Hell's Trap.
Yeah.
She's in Hell's Trap.
And I mean, Armando says it all the time, but all these Mexican actors, man, they're
(44:10):
continuously playing roles in every fucking movie that's released.
Like they're always popping up.
And in this case, since she was a child, see.
There you go.
See.
It's got to start a meal.
So yeah, I mean, I don't know.
It's hard to talk about this without spoiling it.
I know.
(44:30):
I know.
That's what it was like.
Yeah, I'm glad because there's so much to say, but it's like, let's save it for the
screening.
But if, yeah, if we don't want to spoil it, how can people watch it, Joey?
Well, they can buy a ticket online.
We're going to be screening this as a rendezvous event at the Frida Cinema, same place that
we're, Armando's doing Hell's Trap.
(44:50):
The Frida Cinema.
Well, it would have passed by the time you listened to this episode.
But at the Frida Cinema, November 14th, we have, you know, some nice things in there.
We're going to have like a pre-show with all the DJs.
We'll be spinning, like we said, a lot of music.
rendezvous is a very...
So what is rendezvous?
So, for people to know.
Yeah, let's, you know what, that's a good point.
(45:12):
Let's talk, let's do a little breakdown of what rendezvous is.
How is a rendezvous event going down?
Obviously, you guys are showing a little bit of card up, but what is a rendezvous event
in a whole?
So rendezvous started, I was doing the math the other day, 17 years ago.
This coming January will be 17 years since our first event.
And we were originally just a DJ collective focusing on, you know, more obscure soundtracks
(45:38):
and that sort of thing.
And then shortly after we started, we brought the movie element into it just to get people
to our bar earlier.
And we're like, how about if we screen a movie beforehand and then we, you know...
Crack the brews and get some drinks going, the movie's over, and then the DJs start up.
And that's when the real night starts.
(46:00):
So that's how it originally started.
And throughout the years, we've added more DJs to our collective.
And we, our movie screenings have become legit in the sense that we now get the rights for
the movie instead of just screening them bootleg style.
You gotta do that though, once in a while.
(46:23):
Right.
Exactly.
I mean...
Gotta stay punk rock every now and then.
Yeah.
But so now, so I would say when people ask me that, I say we're a DJ collective, but
we do music and film events.
So unlike, you know, a normal movie where you just go to the movie and you watch the movie
(46:44):
and you leave, this one at a rendezvous event, you get there a little early and you listen
and we have turntable set up, we're playing all vinyl records, most of them original pressings,
very expensive records, especially if you look into Joey's bag.
Well, I blame you.
(47:05):
I've spent way too much money over the course of the last, I don't know, I've known you
for what, 15 years now?
Yeah.
And in those 15 years, I've spent a ridiculous amount of money on records.
Joey could have had a nice house up in the hills.
Yeah, probably could have, up in the West Covina Heights.
West Covina Heights?
By now, but no, now he has all his money on records.
(47:26):
But yeah, so we play records before the movie, the movie starts and we, you know, everybody
watches that and then when the movie's over, we continue playing records well into the
night.
Yeah, I think it's important too, and I mean, I don't know if we've ever had this discussion,
you and I, but, you know, soundtracks are integral to movies.
(47:48):
You know, they can really drive what's happening on screen.
So it, to me, it's always been important to kind of celebrate the music with the movie.
And that's kind of when I first found rendezvous, that's what attracted me to it.
You know, actually, I was thinking about it the other day, the first rendezvous event
that I ever went to was when you guys were screening the Eurocrime documentary.
(48:11):
Oh, yes.
And I was like blown away.
I was like, holy shit, people actually listen to this besides me.
Like this is crazy.
And I fell in love with it.
And so I think it's important that when people think of rendezvous, you know, they know that
it's two things.
It's not just a movie screening and it's not just DJ's playing records, right?
(48:35):
They're like, they coincide with each other.
So you know, when you get there, when the door is open, I don't know the exact time,
but you guys can see on the show notes, I have the link set up to so you guys can buy tickets
and all the information.
But when the door is open, you know, we're going to be there.
We'll be selling DVDs and stuff and playing music.
(48:56):
And that's literally the first thing when you enter a rendezvous event, you're going
to hear music.
You're going to see Alfonso first.
I don't know why, but every time I go, you're going to see Alfonso first.
It's because he's the first one there.
He's the one that sets up the tour table.
He's the first and he's the Joey and then if Ethan's there, you see him.
You see everybody there and it's cool because, you know, they're all here to play the music
and obviously shows a really fucking cool movie.
(49:17):
And it's a good time all around.
The few that I've been to, they've been always been really fun and very like, you know, you
guys are always chill.
You guys are communicating with everybody.
You guys aren't just on the stage or just playing records.
You guys are like, you know, mingling with everyone there, you know.
So it's awesome.
So I'm a fan of that.
First the main thing is we like to build a little community and I think we have in the
(49:38):
last, you know, I would say so.
We have our regulars.
We always have, you know, random heads that pop up.
But everyone that does show up regularly.
I mean, we're, you know, we've all become friends.
I mean, even when we were doing the online stuff, like we, right, people became friends,
people in Ohio were friends with people in Seattle or, you know, in Europe.
Yeah.
They like flew like after COVID flying to go visit each other because they met each other
(50:03):
online at a rendezvous online screening, you know, which was crazy to see.
But yeah, that's the whole point, you know, is just to bring people together.
If you're listening to this podcast, obviously you like, you have some interest and you have
some interest in that sort of thing.
And it's a small world of collectors.
(50:24):
It's a small world of, you know, film fans who like this sort of a sort of genre type
of movie, films and stuff like that.
So why not get together and combine forces and, you know, just do fun things and watch
it.
Yeah, you can go to the movies, but have some fun after or before even the movie.
(50:45):
Right.
Yeah, come to and come watch a movie that's not fucking generic, right?
I mean, you know, come celebrate Mexican movies, come celebrate Mexican genre.
Juan Lopez, Mike Dizuma, great filmmaker who, you know, probably doesn't get enough credit
as he deserves.
If you miss the chance to watch this when Abraham Castillo wink wink.
(51:06):
I was there.
That was fucking great.
I mean, to watch this, I've watched, I mean, I've watched this plenty of times, but the
first time I saw it in a theater was at the Academy when Abraham brought the Magical Manicado
and watching that in that theater was fucking epic.
And before the movie, he schooled us on everything we needed to know.
Mike Dizuma, Alucarda, well, I'm glad you mentioned that because speaking of Abraham,
(51:31):
yeah, speaking of him, he is, we asked him to create a little introduction presentation
on Alucarda and Magica Dizuma for us for this next coming event.
So Abraham Castillo Flores will be, it's a, he's unfortunately not in person, but he's
(51:54):
sending us a, probably about a 10 minute, I would say, his Santasangra intro for us.
I hope it's long because you can hear him talk.
It's cool.
Yeah.
Anyone who hasn't sat in in one of his lectures is sorely missing out because Abraham knows
his shit.
He does.
Yeah.
You guaranteed you will learn something before you watch this movie.
(52:14):
Yeah.
Honestly, when I saw it at the Academy Museum, I was like, oh, I didn't even know about this
and this and this.
Yeah.
I mean, he's, I mean, it's like walking.
It's like, that was pretty awesome.
Yeah.
And so if you miss that at the Academy, now's your chance because I don't know how many
times this is going to screen in a theater in the LA area, the Orange County area.
(52:37):
So you know, please, you know, not only support the Frida Cinema because they allow us to do
such cool things like screen Alucarda and, you know, bring turntables into a theater and
DJ, but it's fucking, it's Alucarda, man.
Those who have seen Alucarda know how good this is and those who haven't.
It's probably the first place you should go see it at a theater.
(52:59):
At 1000 percent.
Yes.
So please look out, look at the show notes, get the link is going to be there so you guys
can buy tickets.
I actually bought one earlier today, so I'll be there.
We've sold one ticket, guys.
We've sold one ticket.
So with that, yes, please buy a ticket, come show up, say hi, you know, make some new friends
(53:24):
and enjoy, enjoy what what Maktuzuma thought would be a lovely Thursday night screening.
Yes.
It'll be very of Maktuzuma theme night.
I mean, if we all love Alucard, we're kind of a little crazy, I think.
Yeah, I agree.
I agree.
Right?
Well, not Alfonso.
Alfonso's a scholar.
He's the one that's watching us crazy.
(53:46):
Yeah, if you listen to Alfonso's laugh because you'll hear it in the back of the theater,
for sure.
Yeah, you know, which is kind of like the rendezvous trademark, right?
We're always sitting in the back laughing, having a good time in front watching the movie.
The other day, I think it was, oh, we're at Beyond Fest and we're getting shushed by
a fellow.
(54:07):
Yeah, we're at a terrifying.
Yeah, we're being shushed.
How dare you talk over a fucking chainsaw.
I know, you guys got shushed by the tariff hire screening.
We did.
It's high art, man.
It's high art.
But yeah, so yeah, that's our thing.
We're always in the back of the bar or the theater or whatever.
And then hollering and laughing and talking.
(54:30):
Talking to you.
Talking to you.
Having a good time watching a movie.
So Alfonso, where can people find you online?
I know we didn't say during the intro, but those you guys may know him because he's
doing he does the the after hours at the Severin Films podcast.
So you guys might be familiar with Alfonso already, but those who are not, where can
they find you personally, your DJ page and then, you know, plug the rendezvous page?
(54:54):
Right.
So very easy on Instagram.
It's at DJ Alfonso and with an F.
What was that?
With an F.
Yes.
And with an S, some people spell it with a Z.
Yeah, that's weird.
ZO.
ZO.
So, yeah.
And then the rendezvous is rendezvous underscore LA.
(55:18):
So Google rendezvous if you don't know how to spell it.
A little tricky.
It's French.
I honestly still have to do that.
I'll be like, did I spell it right?
And then I'll look around.
Don't forget the underscore between rendezvous underscore LA.
That's where they can find us and we'll have a link for the tickets for the free day event
on our rendezvous LA Instagram page.
(55:39):
What day is it on again?
Yeah.
It's Thursday, November 14th.
November 14th.
That's a Thursday night, which I personally love Thursday nights because you still have
your weekend ahead of you.
And I mean, let's be honest, who's working hard on Friday anyway.
Yeah, everyone's checked out.
Right?
Exactly.
So it's a kind of the first day of the weekend, in my opinion.
(56:01):
That's a work night for me, but I'm still going to call.
I'm excited.
I mean, like when's the, I mean, aside from Hellstrap, we're going to see a next freaking
horror movie on the big screen.
Come on, gotta go.
You don't need to see Terrifier 3 again.
Don't say that out loud, man.
You might, you know, people are terrifier freaks.
I know what's I'm staring one in the face right now.
(56:24):
Big shout out to Jimmy because we are recording in Jimmy's house right now.
So thank you, Jimmy, for hosting us.
Where does Jimmy live again?
West Covina Heights.
West Covina Heights.
Yeah.
It's the nice part of West Covina Heights.
As always, you can find me on Instagram as Cheta Brown and of course, Armando.
You should know if you don't know what Armando's Instagram is, how do you know?
(56:45):
I always, like I said, every four people be like, you have Instagram?
You have a podcast now?
You have a blog?
I'll be like, yeah, what do you think I've been doing all this time?
You gotta like actively not search.
It's just funny because I get that.
But now let me see what you were saying earlier about the whole gatekeeping thing.
I said, guys, come on, don't be lazy.
Yeah.
(57:06):
I'm just a little research.
That's all I'm asking.
That's all I'm asking.
Send some emails, I'll make some phone calls.
And I'm sure I'll get some hate mail for being a pro gatekeeping.
But guys, please just do a little bit of research.
Just pretend like you care enough to try to find something.
That's all I'm asking for.
If you find it, let's have a discussion about it.
(57:28):
Don't email us at TrashmaxPodcast at Gmail asking for this file.
Yeah.
Email us cool stuff, suggestions, order fan love, whatever.
Yeah.
I mean, ask questions, but please don't ask for links and free copies of movies and stuff.
That's not fun.
And it kind of defeats the purpose of being part of this thing.
(57:51):
It makes me uncomfortable.
I get anxious and then I just get like panicked.
No, I'm just joking.
And yeah, so this will be the end of episode four.
And look out because eventually we will have another episode with the rest of the rendezvous
crew and that's going to be a special episode.
We're going to have everybody, right?
Yeah.
We're going to try to get everybody.
(58:12):
That's kind of why we haven't done it yet, but we're going to try to get everyone.
And that's going to be a really special episode.
So please look out for that.
We got other episodes coming up in the mix.
Yeah.
You know, keep listening.
Please rate, subscribe, comment.
You know, the whole shebang, the rigamarole of the podcast.
If you guys really like the podcast, give us a rating, comment, whatever.
(58:36):
You know, that way we feel like we're doing something.
I mean, obviously we get downloads and everything, but you know, but do let us know.
It makes it feel like, you know, we're doing something constructive.
But if we're on episode four, I think we're doing pretty good.
I've been enjoying the podcast.
I gotta say.
Thank you.
It's been like a, we've been experimenting with what we want to do and so forth.
(58:56):
And yeah, we've been on a pretty good road so far.
Who knows what lies ahead?
Yeah, who knows?
I mean, it's not a monthly episode structure, not a weekly episode structure.
When inspiration comes, we'll get them out.
So far it's been monthly though, honestly.
Yeah, it has been monthly.
It's been weird though.
I say that it won't be, but it has been.
I know, but then it feels like it's not though.
That's the same time.
(59:16):
Like it's already almost November and we started with August?
Yeah, August.
It's so weird.
Time flies.
Yeah.
When you're having a good time, time flies.
So with that everyone, we'll let you be.
Hope you guys enjoyed the episode.
Please rate, subscribe, comment, everything.
And yeah, come watch a Luccarla.
Try to find Alimento del Miedo.
(59:38):
I know you won't, but try anyways.
And we'll see you guys for episode five.
What's going to be episode five?
I'm just...
You'll hear the trailer now.
We'll release it soon.
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