The film ends with a recently built plant for mechanised salt extraction that could eliminate the community's traditional source of income.

Araya was produced by a two-person crew consisting of Margot Benacerraf and her cameraman Giuseppe Nisoli.

Although colour photography was available to Benacerraf and Nisoli, the decision was made to shoot in black and white, as it was deemed a more powerful way of portraying the subjects.

Benacerraf noted that the Andalusian polo songs, rare in Venezuela, had lasted due to the extreme isolation of the Araya community.

[1] Benacerraf has argued on several occasions that Araya is not a documentary but rather a poetic narrative, genre in which it was accepted at the Cannes Film Festival.