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Bad Bunny Is Still Bad, Even When 50 Years Older at the 2026 Met Gala

Director: Genesis Valverde
Director of Photography: Finalis Valdez
Editors: Billy Ward, Estan Esparza

Producer: Michelle Bruno
Producer, On Set: Francina Morel

Associate Producer: Tabitha Corley
Associate Producer, On Set: Cristian Palma
Assistant Camera: Alexis Aguilar
Audio: Ana Fernandez
Production Assistant: Marquis Wooten

Prosthetic Makeup Designer: Mike Marino
Prosthetic Makeup Artist: Kevin Kirkpatrick
Prosthetic Wig Designer: Diana Choi
Makeup Artist: Carla Farmer
Prosthetic Makeup Artist: Valeria Kole
Contact Lens Technician: Genesis Abreu
Production Coordinator: Lisa Rinke
Stylist: Storm Pablo, Marvin Douglas
Groomer: Gilbert Gonzalez

Production Coordinators: Tanía Jones, Skyy Forcer
Production Manager: Kristen Helmick
Line Producer: Natasha Soto-Albors

Assistant Editors: JC Scruggs, Andy Morell
Post Production Coordinators: Holly Frew, Stella Shortino, Jessie Merten
Supervising Editors: Kameron Key, Christina Mankellow
Post Production Supervisor: Alexa Deutsch

Entertainment Director: Sergio Kletnoy
Supervising Producer: Felicia Kelley
Executive Producer: Rahel Gebreyes
Senior Director, Video: Romy van den Broeke
Senior Director, Programming: Linda Gittleson
VP, Programming: Thespena Guatieri

Filmed on Location: Aman New York

Released on 05/05/2026

Transcript

[gentle music]

[Benito speaks Spanish]

[gentle music]

I'm in New York.

[Benito speaks Spanish]

[Benito speaks Spanish]

[funky music]

Benito is very easy to make look handsome.

The theme of our look is using the body, fashion, and art.

Throughout the museum,

you will see so many portraits of people at the time.

I think Benito's look mirrors a giant portrait

that you'd see on the wall

at the Metropolitan Museum of Art.

His look is as a distinguished older man,

someone who's lived a life.

So I think using the skin, using the body,

using the face as art is where we're landing in a canvas.

He's a masterpiece.

Key to these things is subtlety.

If it's an alien or a creature or something like that,

no one knows what that looks like.

But when you're looking at something hyper realistic,

everyone knows what that looks like.

So this is the hardest makeup to pull off.

So these are meticulously glued on

while he's sitting in the chair.

I've enhanced his cheekbones,

making this look a little bit sunken

I've added an eye bag in here.

On the day, we glue that on.

So that's about a three hour process.

Then looking, then cutting the hair.

We did his hands.

We added knuckles and veins

and a translucency of color through the veins.

Sometimes makeups look like makeup, you know.

They look fake.

Our goal is to keep it so translucent and so realistic.

I designed something to where I use

as much of the actor's face as possible.

When they move, it's not just something

that looks aesthetically pleasing, it's a moving art.

I think once all the pieces are glued on

and we start painting the face and we start adding reds

and adding little blood vessels, adding little shadows,

that's when it really starts coming to life.

And that's when today, Benito's eyes lit up.

He's very quiet, but I saw him go, oh yeah.

He's looking in the mirror.

I saw him light up a bit.

[funky music]

[Benito speaks Spanish]

[Benito speaks Spanish]

[Benito speaks Spanish]

[upbeat jazzy music]

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