[1] Her work as a filmmaker focuses on Mexican history, politics, and culture in insightful and poetic films that push the boundaries of how the documentary form addresses social issues.

[7] Almada's inspiration comes from her positionality as a dual citizen, who grew up in two entirely opposing economic, social, and political settings, moving back and forth seasonally between Mexico and the United States.

[9] Her outlook as a Mexican-American female invites a wide range of audiences to understand social justice issues from a unique perspective in which the director is able to relate to the people in her films from an unbiased viewpoint.

[7] All of her films are deeply intimate and personal; Almada's theme of vulnerability produces a level of honesty that is needed to fully appreciate the stories she tells.

[13] A correlation can be seen between the expansion of the drug war and the growing extravagance and quantity of Mausoleums in Martin's view; "the 'progress' of the cemetery mirrored the violence that was spiraling out of control.

[10] In giving a face to the persistently growing problem, Almada adds a human perspective to a story that is typically told through a political, criminal lens.

[8] The film's main focus it to look at the ways in which her bicultural family responds to the tragedy and loss of Ana Lynn, and directly interviews those affected by her death.

[8] The film is inspired by an essay by Toni Morrison, which focuses on the relationship between water and memory, which relates both symbolically and directly to the death of Ana Lynn.