There is a pivotal scene in the Mexican film Alucardos, retrato de un vampiro [Alucardos, Portrait of a Vampire] (2010), directed by Ulises Guzmán, where the main themes of this narrative of dark obsessions with a cult horror film converge. Manuel and Eduardo, the protagonists, are fans of Juan López Moctezuma's film Alucarda, la hija de las tinieblas [Alucarda, Daughter of Darkness] (1977), where a young girl is possessed by a demon and terrorises a convent with her vampiric cravings. The young men study medicine and are granted access to the mental institution where the famous director is being treated. They are convinced by López Moctezuma to help him escape from his room, and they hide him in their home for a while. López Moctezuma suffers from depression and from Alzheimer’s, and eventually becomes confused and scared in Manuel's and Eduardo's place. The protagonists decide to help the old man recover his memory and drive him to one of the filming locations of his vampire film: a real forest and park in the outskirts of Mexico City called Desierto de los Leones. Eduardo leads López Moctezuma along several footpaths in the forest. The montage sequence shows a series of images about the filming of the original Alucarda interspersed with the final, completed scenes of this same film. A cross-cutting in Guzman's film also displays a medium close-up shot of Manuel putting on make-up and dressing up as Alucarda inside the car. Once he is ready, Manuel approaches López Moctezuma and Eduardo. The two young men are convinced that López Moctezuma has come back to reality: stepping into one of the filming locations and seeing his vampiric creation represented by Manuel have allowed López Moctezuma to remember his identity and to recover his personality traits from the past.

This sequence confirms the aim of Guzman's film. The obsession the two protagonists harbour towards the vampire Alucarda rules their lives up to the point when Manuel obtains full gratification in using his body as a vessel to re-create López Moctezuma's character. When Manuel dresses up as Alucarda and faces the old director, his fantasy of becoming Alucarda is finally realised. This scene not only contains themes of fanaticism, idealisation and representation; it also demonstrates that Alucardos rescues other motifs explored in López Moctezuma's film.