When Alejandra Hinojosa arrives on set, she steps in with a clear vision and a sharp focus on every detail. As the director on set, she observes the space, ensuring everything aligns with her creative plan before the camera rolls. Her mind is already at work as she anticipates every shot, movement, and emotion that needs to be captured. “When the artist is fully engaged and begins to flow within their own creativity, and every element falls into place, that’s when I know I’m exactly where I need to be,” she tells Remezcla.
From watching music videos as a kid on MTV to being on set directing music videos as an adult, Hinojosa thinks back to her younger self, who would have creative visions when listening to music. Now, she has directed clips for Kenia Os and Steve Aoki’s “Replay,” Sofia Reyes’s “Señorita,” and others. In addition to filmmaking, photography was also one of Hinojosa’s first loves. She’s captured intimate on-set moments for Nicki Nicole, Doja Cat, Jhayco, and many more.
Growing up in the border town of Brownsville between Mexico and Texas, Hinojosa knew she had to make the major move to Los Angeles, CA, to fulfill her creative purpose, where she finished film school. However, her vision is far beyond just creating — she also knows she represents a very small percentage of female directors in the industry. A recent study by USC Annenberg’s Inclusion Initiative shows that out of 116 directors attached to a project, only 14 are women.
Last year, Hinojosa directed one of her biggest projects to date, Amazon Music’s two-part documentary, Gen Mex: The Global Rise of Mexican Music, produced by Cinema Giants. The documentary tells the story of the rise of música mexicana through the voices of Mexican artists, producers, songwriters, journalists, and executives like Natanael Cano, Fuerza Regida, Ana Barbara, Alicia Villarreal, Edgar Barrera, Xavi, among many other stars. It was shot in Los Angeles, Miami, Mexico, and Hinojosa’s home state of Texas to capture the full scope of Mexican music.
As one of this year’s Major Mujeres of Remezcla, we sat down with Hinojosa to recount her early beginnings, her journey thus far, the current state of the filmmaking industry, and how she’ll continue to represent women in film, putting her best foot forward.
This interview has been edited and condensed for clarity.
When was that one moment or turning point in which you felt you were in the right space (i.e., that made you feel “This is the right path/direction for me”)?
One of the first moments I felt I was on the right path was when I felt that undeniable energy and drive on set, like that magical feeling I cannot explain. Other moments that helped me realize I’m on the right path are when concepts become real and I see the artist flowing and having a good time on set. Those are the times I know I’m exactly where I’m supposed to be. And, of course, when I started to book more and more projects. That’s when I knew I could actually do this for a living.
So often, we see people advancing in their careers or making “big moves” on social media, but it’s rare to hear or see those introspective moments in which a person considers quitting or transitioning. Did you ever have a moment like that?
Many times…. When you pour so much love into the project you’re working on, and then it gets released, you can feel drained. It can sometimes feel like a breakup when it finishes, depending on how long the project was. You need time to pick yourself up again. The hardest part for me is always letting go. Just make sure you don’t stay there too long. Those moments where you feel that way, it’s also to reflect, to go deeper, find [the] alignment. Those feelings and time, for me, are very important. In this career, a lot of it is about keeping forward going. So, yeah, keep going.
Were there any mentors or other women who inspired or helped you get to where you are now?
My first mentor has been my mother, the strongest woman I know. She’s shown me that anything I set my mind to is possible. In the film industry, many women inspire me: Melina Matsoukas, whose work has deeply inspired me and touched my soul; Hannah Lux Davis, who gave me the opportunity to intern with her and taught me the importance of editing and making people look good on camera; Ivanna Borin, who has shown me that anything is possible as an immigrant; and Nadia Lee Cohen, who taught me to have fun on set and not to abandon photography, which is another passion of mine.
What’s one of the biggest hardships you’ve faced as a woman — or even as a Latina — in the music industry?
The biggest challenge as a female director has been changing old habits in the industry. It wasn’t that long ago that women weren’t even considered for directing roles. The industry has always been mostly male, and since people aren’t used to seeing women lead big productions, there’s still hesitation. It’s not about proving we can do it; it’s about shifting that mindset. Things have come a long way, and with time, the balance is shifting in a positive direction. Another challenge I’ve had is finding female mentors. There aren’t many of us, so getting advice or guidance isn’t always easy. Even though I look up to some amazing women in the industry, I’ve had to figure out a lot on my own.
What’s one of your favorite parts of where you are now in your journey?
My favorite part in my journey right now is that I’m excited to work at a time when so many great things are happening for Latinos in the music industry. As a Latina, it pushes me to work even harder because it’s bigger than just me — it’s a way of representing where I come from. I’m at a point in this journey where I see so many incredible Latino artists killing it in the industry, each with their own unique story, background, and path. As a director and storyteller, I want to help them transmit their vision and help them express that in a visual form in the best way I can. In a few years, when people look back in time to understand how these artists made it, it will be the music videos and the visuals that were documented in their journey.
We’re seeing more and more women artists and music creatives speak out about how their work went unprotected or their trust was abused in the industry. What has been your perspective on this? Is this something you’ve seen happen?
There have been times when I felt my work was unprotected, especially when sending music video treatments. It takes a lot of time and effort to create a music video concept, and I’ve learned to set strong boundaries. Unfortunately, a few artists still think they can take your treatment idea and give it to someone else, which shouldn’t be accepted. Record labels should support creators in these situations, and filmmakers should speak up. It’s happened to me a few times, but I’ve learned from it, and I don’t want others to face the same.
What do you feel can be done to make the music industry feel more safe and collective for women?
The music industry feels safer and more collective for women when they’re surrounded by men who value and understand the power of having women in creative roles. I’ve been in situations where I felt the difference — being on set with men who truly want the best for you, who want you to grow and keep evolving. My boss, Jessy Terrero from Cinema Giants, is an example of a man who empowers women in this industry. It’s about collaborating and adding people to your team who respect and support women, not just because they have to but because they see the value in what we bring.
But it’s not just men; women can also affect each other’s journey or success. Can you explain why a crabs in a barrel mentality (“if I can’t have it, neither can you”) is harmful to women? There is a tendency that when a woman gets ahead, other women may try to pull them right back down, based on the fact that society has often pitted us against each other or made us feel like there can “only be one.”
I agree that this type of mentality can be harmful, but to combat it, it’s important to make sure that women are being hired on sets so it no longer becomes about the one woman who got the job and can be torn down. It needs to be about being surrounded by women who are all working hard to achieve the goal and the vision of the set or project.
What do you hope to personally change about the music industry, especially for the next generation of women in this space? Talk to us about your legacy of (the importance of) making space for others while on your journey.
As a music video director, I want to change how music is visually advertised by maximizing music video shoots and creating content like covers and additional visuals for promotion. It’s crucial to set aside time for this on the day of the shoot so artists have the content they need across platforms. Filmmakers have the power to elevate the song’s story, and I hope more artists realize how essential filmmaking is. There’s often a rush to release music, but taking time to craft the concept is what will make history and give opportunities to new generations working in production that are creating spaces for them to create. For my legacy, I want my work to help develop the artist’s personal stories beyond the music. I feel that part of storytelling is missing from a visual standpoint. My advice is that there is smoother energy when you flow and work with an artist you connect with. Don’t be afraid to reach out, prepare for the no’s, but most importantly, prepare for when the artist gives you the opportunity.
