Handle with fire!
La Salsa is not an AI studio. It’s a reaction to the ordinary. Founded by Benjamín Muñoz and Joss Monzoni. 25 years designing, directing, and producing commercials and films. We work with brands, artists, and companies that refuse to blend in. People who understand that culture doesn’t move by playing it safe. We use AI the way filmmakers once used new cameras, the way musicians used distortion, the way street artists used walls. Not as a shortcut, as a weapon. Our work lives between advertising, cinema, and provocation. Sometimes it sells. Sometimes it unsettles. Always, it moves. Handle with fire.
Youtube Series
An AI-powered thriller series exploring the limits of storytelling, sound, and cinematic world-building.
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PALOMA is an original action thriller micro series created by Benjamin Muñoz and Joss Monzoni. Using AI as our full production pipeline, writing, visuals, sound design, editing — we’re exploring how far artificial intelligence can push cinematic storytelling.
Episodes are 3 minutes long and released weekly on YouTube. This is our experiment. Our playground. Our limit-breaking creative lab.
Advert
America Fresh came to us as a small company with a big vision.
They didn’t want a “safe” commercial. They wanted a statement.
From day one, they made something rare happen: they gave us 100% creative freedom.
So we went all in.
This commercial was produced entirely with AI, not as a gimmick, but as a creative advantage. Using our AI-enhanced production pipeline, we moved faster, explored bolder ideas, and built visuals that would normally be out of reach for a brand at this scale, without sacrificing storytelling, craft, or intent.
The result was a piece that didn’t feel like a “small brand trying hard.” It felt confident. Cinematic. Loud. Unapologetic.
The campaign repositioned America Fresh as a brand willing to challenge convention, and win attention in a crowded market.
This project is a perfect example of what happens when bold clients meet fearless execution. When trust replaces fear. When technology is used to amplify ideas instead of shrinking them.
This wasn’t just a commercial. It was a proof of concept, for what brands can do when they stop playing it safe.
Big ideas don’t belong only to big budgets. They belong to brands brave enough to say yes.
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Spec Advert
This was a spec film. No brief. No client. Just a question.
What happens when you treat one of the most iconic brands in the world with the same respect you’d give a feature film?
We didn’t want to make a “Coca-Cola ad.” We wanted to make a Coca-Cola story.
One that trusted atmosphere over exposition. Emotion over explanation. Cinema over advertising tricks.
This project was an experiment in restraint. In letting story carry the weight. In proving that AI doesn’t have to look like AI to change how films get made.
Everything was produced using AI as our creative engine — not as a shortcut, but as a way to move faster, take bigger risks, and explore ideas that would normally stay on the page.
This film exists to show how we think. How we approach legacy brands. And how far storytelling can go when fear is taken out of the process.
Iconic brands don’t need louder ads. They need better stories.
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Short film
This film wasn’t made to explain Christmas. Everyone already knows the story.
It was made to change how it feels.
Every year, the same imagery shows up. The same symbols. The same tone. The same emotional beats.
We wanted to challenge that.
Using AI, we asked a different question: What happens when you strip the story of its decorations, its performance, its visual clichés and tell it the way culture actually experiences history?
This project was created in a very short time frame, for one of the most culturally significant moments of the year, using AI as a full storytelling engine from concept to image to motion.
Not to recreate the past, but to reframe it.
AI allowed us to move freely through time, to imagine moments that were never filmed, angles that never existed, and perspectives that don’t live in archives.
Ancient history. Modern history. Human history.
All connected by the same question: What actually matters underneath all the noise?
Same story. Different angle.
That’s what happens when storytelling stops repeating itself and starts asking better questions.
A familiar story, told from an unfamiliar place.
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Experimental Film
The Survivor film exists for one reason: to push the limits of AI.
We dropped a story into the middle of the Spanish Civil War. Then we made it worse.
What happens if history is already bleeding and the zombie apocalypse shows up anyway?
Could AI handle real cinema? Real camera movement. Real pacing. Real sound. Real emotion. No still frames. No excuses. No “that’s good for AI.”
Camera motion. Visual effects. Sound design. Lip-sync. All of it built with AI. All of it pushed hard.
It was made to prove something.
That AI doesn’t kill cinematography. It demands better filmmakers.
The Survivor isn’t a genre experiment. It’s a stress test.
And it survived.
We didn’t ask if AI could do it. We dared it to fail.
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