About the Project
The Reaper 3D is a supernatural crime drama set in a dystopian borderland where the boundaries between government, cartel, and street life have collapsed. The film follows Nico, a man betrayed and left for dead by those closest to him. Forced to confront the Grim Reaper, Nico must fight to reclaim his life, protect his wife and son, and seek redemption for the choices that brought him to the edge of death.
Drawing from Mexican folklore, especially the veneration of La Santa Muerte, the film explores what happens when society fails and people turn to alternative beliefs in search of hope, justice, or meaning. The Reaper 3D is a story about survival, loss, and the lengths one will go to for family—even when surrounded by violence, corruption, and supernatural forces.
The film was shot natively in stereoscopic 3D, blending practical effects and immersive sound design to create a vivid, layered experience that stands out both visually and emotionally. A 2D version is also available for online viewing.
Why / Motivation
The very first concept for The Reaper 3D began in 2014, when I was traveling through Mexico and found myself in Oaxaca during a wave of protests and public mourning over the 43 missing students from Ayotzinapa. I remember seeing city walls covered in graffiti demanding justice and spotting images of La Santa Muerte—Death herself—everywhere, from street altars to murals. It struck me how, when institutions fail, people turn to folklore and ritual to process anger, loss, and grief. That realization stayed with me, but I didn’t want to create something that was only heavy or hopeless.
When Mike and I started writing The Reaper, we were both tired of superhero stories where powers are handed down or the hero wears a costume and stands apart from everyone else. We wanted to make something grittier and more honest—a story about a character who doesn’t get powers from the universe, who isn’t pure or invincible, but is broken himself. Our version of a “hero” is someone who comes from a rough place and has to claw his way toward any sense of redemption. He’s just trying to survive and do right by his family, even if that means facing death itself.
For me, The Reaper 3D is about what happens when hope and morality are stripped away and you’re left with hard choices, your own flaws, and whatever strength you can find. It’s about fighting for your family when you have nothing left, and seeing if there’s any chance at redemption for someone who’s broken, too.
Process & Development
The Reaper 3D began as a set of conversations and rough outlines with my co-writer, Mike, drawing from observations and research into Mexican folklore, cartel violence, and the role of Santa Muerte in contemporary Latin American culture. We wanted every part of the story to feel grounded in lived reality, but also to be fun, full of action, interesting visuals, and the energy of a supernatural thriller. As a fan of horror, I made sure to include a few horror elements to push the mood and tone.
The project was developed and produced through the UT3D program at UT Austin, which gave us access to a Pulsar beamsplitter rig capable of holding two RED cameras. This setup allowed us to control the interaxial (camera separation) for depth, as well as to genlock and synchronize the lenses. I wanted to establish the visual language early on with the crew to maximize the stereoscopic 3D experience. That meant using longer takes instead of fast cutting, opting for subtle, slow camera movements over handheld shots, and treating the stereo window as an opportunity to bring viewers closer to the characters, to observe volumetric people rather than just flat images.
I assembled and led a young crew, some more experienced and others on their first major project, and trained them in the unique demands of stereoscopic production, from camera rig setup to blocking, editing, mastering in 3D, and more. The rig itself was heavy and required careful preparation before every setup: the cameras and lenses needed precise alignment, and every time the rig moved, the process had to be repeated. Its weight also made camera placement essential and required extra planning. Just as a director of photography composes the frame, we had to consider the depth of each shot and what it meant for the story and characters, using 3D not as a gimmick but as a genuine storytelling tool.
The project was demanding but collaborative at every step. The biggest lessons came from navigating new technical territory, leading a young team, and taking full advantage of the UT3D program’s resources. Everyone who worked on the film left with new skills and real-world experience that carried forward into future projects.
Key Credits
Directed by Simon Quiroz
Written by Simon Quiroz & Michael Gammon
Produced by David Payan and Christian Berg
DP. bt Patrick Smith
Music by Nathan Efstation