You both relocated from Latin America to Spain. What drew you to Spain and how has that shift influenced your creative work?
AM – The culture is quite similar to my home so it has been easy to get used to living here, being in a city with such a strong identity and with art history is very inspiring. You can really see how the environment and the history shapes not only the lifestyle but the art. Especially in this project, coming as an outsider to the world of flamenco helped me approach it with genuine curiosity and a desire to translate that passion into the campaign.

GG – Even though our cultures are pretty similar and have always been intertwined, the change was still a big one — a proper creative challenge. But it also gives you an edge, because you come up with ideas by noticing things as new or different, things a native might take for granted or stop seeing as special. And then there’s the constant sense of discovery our job has: if you can learn something new, that campaign ends up working for you as well, on a personal level.

Ángeles Toledano is both the star and a creative collaborator on the Social Film. How did she come to be involved in the project?
GG– When we pitched the idea to Ángeles and her team, they fell in love with it straight away and, together with her label, threw themselves fully into bringing it to life. In just one week — and after what felt like a thousand meetings — we finalised wardrobe, presentation, schedules, transport, and everything else we needed. But nothing could have prepared us for what she brought to the set: Ángeles walked in and gave us far more than we imagined. She filled every corner of the museum with her presence and charisma, with that incredible voice of hers (I still get goosebumps thinking about it). And when we premiered it in the Museum’s cinema, right after her guided tour, seeing her emotion and pride felt like a huge reward for all the effort.

Another big factor was Morning Coffee’s own DNA — we’re a mix of different talents. Our interviewer, Blanca Fuerte, crafted a beautiful storytelling angle. One of our video-editors is also a choreographer and guided movements on set. The project managers handled production, making sure every detail ran smoothly. The props team even made a statue by hand as a nod to the original song that inspired the Amazon Music Original. Everyone went above and beyond because we believed in the project! And none of this would have been possible without the vision of the founders, who cleared the way so we could pitch it.

How did shooting at the Thyssen Museum come about, and what was your collaboration process like from developing the project through completion?
GG– Amazon Music was already exploring the idea of a guided visit at the Thyssen Museum, inspired by Ángeles Toledano’s avant-garde flamenco. But the project needed a narrative thread — a campaign with the same experimental edge as the Amazon Music Original that was central to the launch.

That’s where the idea came from: if we wanted to show a crossover of artistic movements and capture the singer’s unique, unmistakable imprint, why not approach the piece as a work of art in its own right? That’s how we landed on the concept of having her intervene in her own frames — but we had to shoot everything in a single day!

The art department, led by Ale, spent hours testing techniques, materials and ways to guide the artist so that, on the day of the shoot, everything was perfectly locked in.

Just to give you an idea, our Director of Photography, Julieta Lutti, did an amazing job at the Museum, and our On-Set Art Director, Micaela Druetta, managed to source incredible props in no time. All of this came together with the synergy between the Museum team, the Artist’s team and the client — and it all happened naturally.

Were there any technical limitations that actually pushed the creative in interesting directions?
AM – We only had one day with the artist so the process of filming, editing, preparing , printing, and painting the sequences for the frame by frame animations was definitely a challenging task. We wanted to have her brushstrokes as well as her handwriting so that the final piece looked like it belonged at the museum, like it had always been there.

What aspects of The Enchantment Transcends really showcase what you love about your work?
AM – The fact that we can blend new tools and technology with more traditional forms of art. The contrast between the super controlled environment of a museum and the loose expression of hand drawn animation and music.

Getting to explore different mediums and formats , I feel like there’s all these ingredients that work well together because from the beginning the idea was centered around art and the process of making art, so it only makes sense that the final piece shows a bit of that process as well.
(for me personally) the chance of collaborating and amplifying the story and music of someone as passionate and talented as Ángeles.

GG– I completely agree with what Ale says, and I’d add that we don’t always get the chance to scale up a campaign like this — and for something as beautiful as Flamenco, no less. And personally, beyond my work as Creative Director, it also gave me the chance to explore social film direction alongside Roberto López, which sparked a whole new vocational discovery for me.

Later, when Ángeles did her frame intervention in the afternoon, after all the effort of testing countless techniques, coordinating real-time frame printing, and making sure the campaign’s look & feel stayed consistent, I could finally see the whole picture. And it wasn’t just the campaign that made me happy — it was the pride of being part of such a talented, passionate team.
 
 

Well Said.

 
Gabriela and Alejandra followed their curiosity to create something fresh. Does your work break the mold? Submit your best projects before the Final Entry Deadline on January 30th, 2026.