Full Breakdown
Mexico’s First Stop-Motion Feature “I Am Frankelda” Debuts on Netflix
6/12/2026, 2:38:18 AM
Historic Release
Netflix premiered *I Am Frankelda* on June 12, 2026, the first Mexican stop-motion film. Brothers Arturo and Roy Ambriz wrote, directed and produced it at Cinema Fantasma in Mexico City, with Guillermo del Toro as creative advisor. It is a prequel to *Frankelda’s Book of Spooks*.
Story & Themes
Set in late-19th-century Mexico, the plot follows Francisca Imelda, who becomes the horror writer Frankelda after her mother’s death and a restrictive grandmother. She allies with Herneval, a prince of the nightmare realm Topus Terrenus, and assumes the role of “nightmare-teller.” The narrative emphasizes female empowerment and artistic resilience.
Production & Design
About 120 staff built 180 hand-sculpted puppets with up to 60 interchangeable mouths. Faces began as resin molds; later stages added digital sculpting and 3D printing, but every piece was hand-painted and feathered. Production design by Ana Coronilla and Bruce Zick draws on Gustave Doré, Leonora Carrington and Remedios Varo. Beto Petiches directed animation, Irene Melis and Fernanda G. Manzur handled cinematography, and Kevin Smithers composed a score blending opera with gothic romance.
Official Statements
The Ambriz brothers called the release “an historic milestone” for Mexican cinema and said the film is “made for all the creative people out there who feel they are not listened to.” They reported standing ovations in Mexico. Guillermo del Toro’s guidance is credited with shaping the gothic fantasy tone, and Netflix promoted the film.
Criticism
The *New York Times* review notes the story “can feel overstuffed with plotlines at times,” risking distraction from core themes. *PoppedNews* criticizes the English dub as “drab and dull, not to mention just way too fast,” arguing it weakens the original Spanish performances.
Reception & Impact
Fans responded with merchandise, quinceañeras, tattoos and fan fiction. Industry observers see the success as a catalyst for more stop-motion projects in Latin America, marking a new era for handcrafted animation.
Future Outlook
The brothers plan more Netflix releases and sequels to deepen the Topus Terrenus mythos and support Mexican animators.
Verbatim Quotes
- “My brother Roy and I have always loved physical objects,” — Arturo Ambriz, Director, Cinema Fantasma
- “I think that this is a really personal story for us. It could be almost biographical, because while we were writing the script, we were living very similar situation that Frankelda faces. There were a lot of producers who told us that we would not be able to produce our own film, to create our own stuff. They told us that we should quit our dreams,” — Roy Ambriz, Director, Cinema Fantasma
- “Even though you 3D print a face, it was painted by hand, and all the little feathers were glued and pasted by hand, and wardrobe was hand-tailored.” — Roy Ambriz, Director, Cinema Fantasma
- “I Am Frankelda” can feel overstuffed with plotlines at times, but like a plastic jack-o’-lantern bucket overflowing with candy: bright, beautiful, spooky — and ultimately, a treat.” — *New York Times* review
