This film was director Isaac Ezban's thesis project at film school in the Universidad Iberoamericana and was one of the biggest and must ambitious thesis projects ever made in the history of that school. He spent almost two years working to get it done, fighting with everyone and everything to be able to make exactly the kind of film he wanted to make. His professors and thesis directors spent all this time telling him that his screenplay was too long and complicated to be made, but he insisted on doing it anyway, and in the end he surprised everyone with a film that had a much better quality than anyone had anticipated. Unfortunately, after the big success that the film had on its private screenings and film festivals, professors and thesis directors at film school still didn't approved it to be shown on the thesis film screenings at the Universidad Iberoamericana, arguing that Isaac Ezban had never listened to any of the comments of his professors while making his film and, therefore, it couldn't be considered to be presented for educational purposes. Due to his love for his school, Isaac Ezban was devastated by this decision, and still waits for the day when they'll let him present his film at his former school.
Director Isaac Ezban combined many different influences to make this film. His aim was to create a B-Movie like those of director Ed Wood, that at the same time had a clever and well constructed plot combining subjects and styles of directors like David Cronenberg, Jean-Pierre Jeunet, Terry Gilliam and Richard Kelly.
One of the most expected scenes of the film is the one where actress 'Julia Carrillo' is portrayed naked with a giant mutant vagina coming out of her body. David Cronenberg's The Brood (1979) was one of the biggest inspirations for director Isaac Ezban to imagine and create this scene. Prosthetics and special effects supervisor Alfredo Garcia was hired to design and built this mutant vagina, and he spent almost 4 months locked in his workshop building it, creating a design based on books of pictures from H.R. Giger's work and books of pictures of skin diseases. The amount of work for the design and building of the prosthetic was so heavy that it was not finished in time for the shooting, and it actually didn't arrive on set until 24 hours after the scene was supposed to be shot, on a 12 day shooting plan. The day it was supposed to arrive on set, the crew actually wasted 24 hours of work, although some of the crew members like director of photography Francisco Ohem and assistant director 'Carlos Hernandez' didn't waste their time so much, because they spent the day making an experimental documentary called "Vagina's Day", which Isaac Ezban later included on the Special Edition DVD (besides the documentary of the whole making-of of the film, called "Let's Make a Dirty Movie"). When the mutant vagina finally arrived on set the next day, even-tough there was not enough time to make the scene and Isaac Ezban, assistant director Carlos Hernandez and all the crew were going crazy, they all managed to team up and do the scene to be back on time, although they did spent two nights without sleep, working full time in what was almost two 24-hour straight days of shooting. While finally shooting the mutant vagina scene, and because the prosthetic actually started in the breasts of Julia Carrillo, she had to be on her knees for almost 9 hours without standing up (while the special effects crew glued the mutant vagina to her body prior to shooting and then, at the shooting, controlled it from under the fake bed made out of wood). While she did the scene, she couldn't stop crying because of the extreme pain she felt on her legs, and still she managed to perform amazingly as if she was having a great orgasm.
One of the biggest challenges of the production was to get the actor who would play the main role, an 11 year old boy to play Kriko Krakinsky. Director Isaac Ezban spent months and months talking to parents of children actors, who at first always agreed on letting their children be on the film, even after listening what it was about, but then, after reading the screenplay, rejected immediately, saying that they would never let their children be in a movie like this. Luckily enough, he finally found Mijael Askenazi, a gifted and talented young actor that was able to play the role in great shape. Mijael's parents gave full permission for their son to act on the film, with only one condition: that he would never see the mutant vagina on set or on the scene. This was a though challenge, as the action that takes place on the mutant vagina's scene is actually Kriko Krakinsky looking at it directly, but the crew managed to shoot the scene without Mijael ever seeing the prosthetic: one day the mutant vagina with actress Julia Carrillo was shot, and another day Mijael's reactions were shot. To get the idea that they were both in the same room at the same time, scenes with Julia Carrillo wearing a topless shirt and Mijael Askenazi walking behind her back were shot, framing the actress from her bottom-up, so that it would appear that she was naked and Kriko was either entering or going out of the room. This shot was the key to give the idea in the editing that they were both on the same room and at the same time. To shoot Mijael's reactions, Isaac Ezban told him to look as if he was seeing a woman being eaten by crabs (although some crew members argued later that Mijael probably had a pretty good idea of what he was supposed to be looking at).
To secure the location of the school, producers Pamela Hernandez and Miriam Mercado (who is also director Isaac Ezban's girlfriend) had to lie a little bit to the school's principal, saying that this was just the story of teenage boys at high-school (and not saying any of the creepy and crazy parts of the plot). This technique was similar to the one that Isaac Ezban used to secure a restaurant for a location in "Cookie", one of his first short films. In the weekend that the school scenes were shot, production assistant Isaac Cherem and casting director Maria Fernanda Terrazas managed to get over 80 boys and teenagers to play as extras in the background of the scenes, although their technique was also quite unorthodox: they told the boys that they were "actors", and never told them they were "extras". When extras director Guillermo Ortiz started calling them as what they were, their parents (who were also in the shooting) started to complain, arguing that the only reason they had brought they children in the first place was because they thought they would be "actors", not "extras". The boys and their parents started leaving the set little by little, and by the end of the weekend, on Sunday evening, when the last scene at school was shot, the set missed so many extras that all crew members had to appear on it. This scene was the dolly-out of Kriko Krakinsky walking in the main hall of the school and looking at teenager's parts of their body. For example, the ass that is splatted belongs to production designer Adelle Achar, and the ass that shakes belongs to sound editor Daniel Maurer.