Millán also has written articles for art publications such as "De l'Amérique" (2011), "Les mythologies absentes" (2013), "The Obsidian King" (2016), and "The Liar" (2017).

Her artworks intersects between cinema and contemporary art to convey post-colonialism and social history as methodologies to her work, which analyses the direct origins that impacts the way humans live.

Jiíbie (2019), El Laberinto (2018), and Sol Negro (2016) are among of many eminent works created by Millán that examines modern life in relation to its history.

[14] The medium showcases the film in rich, dark colours with minimal gradient in the background to merge the distinct colors as the speaker voices the importance the plant.

[19] In the film Sol Negro (2016), Millán employs the imagery of the solar eclipse to parallel the opera singer, Antonia, as she sings in an empty hall.

Sol Negro, also known as "Black Sun," is evocative of the "dark spleen," in which doctors used to attribute "melancholic and suicidal drives, especially as they affected artists.