From real-world Catrinas to AI cinema: An artist’s next Día de Muertos chapter

When the group began collaborating around Día de Muertos in 2019, they had no idea where the tradition would lead. Initially, they were a collection of friends who traveled through Mexico, creating Catrina makeup, assembling costumes, and photographing the results against picturesque landscapes. Their work was not driven by a business model; they simply enjoyed crafting characters, traveling, and showcasing a piece of Mexico through their photographs.

As word spread about their photography sessions, more people started requesting involvement in the experience. Initially, the sessions were just makeup sessions, but soon, visitors wanted to learn about the tradition's origins, visit the locations photographed, sample traditional food, meet locals, and experience the Día de Muertos festivities beyond the images they had seen online. This shift transformed their work; the makeup remained essential, but it became just one component of a larger, more immersive experience.

By 2024, the demand for Día de Muertos makeup and photography had grown significantly. With numerous artists now offering similar services, Alejandro questioned whether it was time to retire from the practice. Instead, he chose to evolve. He became more interested in constructing entire worlds around the people they photographed rather than merely creating individual Catrina portraits.

This shift led to the development of El Viaje de las Ánimas, a project that had been in his mind for years. The concept originated from a dream, and he kept it to himself while saving money to produce it properly.

For about four years, Alejandro pondered how to transform his idea into a tangible reality. When they finally brought the project to life, almost everything had to be authentic. The Catrinas were real models, the marigolds were natural, and they needed costumes, makeup, transportation, lodging, and meticulous coordination. The production took place in Xochimilco, where they rented three trajineras for over 11 hours and transported large quantities of marigold to the location.

Over twelve people were involved in the project, and witnessing his imagination become a reality was both satisfying and challenging. The experience highlighted the relationship between an idea and the resources required to execute it. Sometimes, the image one wishes to create exists only for a fleeting moment, yet achieving that moment can necessitate years of savings, weeks of preparation, and assembling a large team.

This realization prompted Alejandro to explore how AI could help overcome physical limitations in future projects.