Some credit should go to producer-star Abel Salazar for stepping back and allowing the film to primarily showcase Rita Macedo and Rosa Arenas as the villainous Aunt Selma and her neice, respectively. The film is something of a family affair as Arenas and Salazar married at about the time the film was made, and Macedo's daughter appears as one of Aunt Selma's first victim's, run over by a stagecoach in the film's first scene.

Baledon takes advantage of the sparse interiors in so that they serve to function on behalf of the story. The exteriors use some strategically placed twigs and fog to create a forest that seems deeper and darker. Even the use of negative film is effective when Macedo tells Salazar the story of La Llorona. At a few moments, Baledon becomes too reliant on the zoom lens with a few too many close-ups of eyes to express shock. That Baledon's abilities as a director have been overlooked speaks more about genre and cultural prejudices. Curse of the Crying Woman has some technical flaws that could have been resolved with a few more dollars on special effects, but for the most part is as good as anything produced at this time from Corman, Fisher or Bava.