From Independent Vision to Global Phenomenon: The Stop-Motion Triumph of "I Am Frankelda"

Mexico City, Mexico – June 12, 2026 – In the ever-evolving landscape of global cinema, the sibling duo Arturo and Roy Ambriz have carved a remarkable niche, proving that unwavering dedication and artistic vision can transcend financial limitations. Their independent Mexico City-based studio, Cinema Fantasma, founded fifteen years ago, has become a beacon for stop-motion animation, nurturing both their own burgeoning talent and that of fellow artists. Their journey, marked by early collaborations with Cartoon Network Latin America and a critically acclaimed series on HBO Max, has culminated in the breathtaking stop-motion musical fantasy, I Am Frankelda (Soy Frankelda). This feature-length production, entirely Mexican in its genesis, stands as a testament to their audacious spirit, self-funded ambition, and the profound impact of a supportive mentor in Guillermo del Toro.

The Genesis of a Stop-Motion Dream

The story of I Am Frankelda is rooted in the Ambriz brothers’ lifelong passion for storytelling and the tangible magic of stop-motion. Fifteen years ago, they established Cinema Fantasma with a clear objective: to cultivate their skills in this intricate animation technique and create a supportive environment for other artists. Their early work caught the attention of Cartoon Network Latin America, leading to a fruitful partnership that saw them produce additional segments and shorts for Adult Swim.

This initial success paved the way for their 2021 stop-motion series, Frankelda’s Book of Spooks, which premiered to widespread acclaim on HBO Max Latin America. However, the brothers harbored a grander ambition – to bring their unique storytelling to the feature film format. Warner Bros. Discovery/HBO Max provided funding for a new special, but the Ambriz brothers recognized this as a pivotal moment to truly realize their potential. In a bold move, they decided to self-fund the remaining costs of a prequel film, I Am Frankelda, rather than limiting their vision to a shorter format.

A Prequel Born of Necessity and Ambition

I Am Frankelda is a visually stunning, meticulously crafted fantasy musical that delves into the 19th-century origins of Francisca Imelda, an aspiring horror writer whose vivid imagination unlocks a parallel dimension. The film’s existence is a direct result of the Ambriz brothers’ unwavering determination. It holds the distinction of being the first entirely Mexican feature-length stop-motion production.

With the invaluable guidance of their mentor, Guillermo del Toro, Soy Frankelda premiered in Mexico in 2025. The film resonated deeply with audiences, achieving an astounding $50 million at the box office and solidifying its status as a cultural phenomenon. Following its domestic success, I Am Frankelda was acquired for international distribution by Netflix, making its global debut today. This interview with Cartoon Brew offers an in-depth look at the arduous yet rewarding journey of bringing this ambitious project to life, the lessons learned, and the exciting future that lies ahead for Cinema Fantasma.

The Leap to Feature Film: A Calculated Risk

Cartoon Brew: Initially, Warner Bros. financed this project as a half-hour special. When did you decide that it needed to be a feature film and that you’d use your own money to complete it?

Arturo Ambriz: The decision to scale up the project to feature length, with larger puppets and more intricate sets, was driven by a fundamental survival instinct. We understood that the stars weren’t necessarily aligned for us, especially as Mexican filmmakers, to achieve our full vision within the confines of a special. It was a "go big or go home" mentality. We were driven by a desire to showcase the breadth of our imagination, the creatures we could conceive, and the stories we could tell. Our directorial approach, both as individuals and as brothers, is rooted in the belief that if we can imagine it, we can animate it. The challenge was finding the right pathway to realize that ambition and, crucially, to enjoy the process.

Roy Ambriz: For us, this wasn’t just about making a film; it was about proving a point. As Mexicans, we faced skepticism about the viability of such a project. We were told it was impossible, that the Mexican public wouldn’t embrace this kind of cinema. The lack of grants for this type of ambitious undertaking only fueled our resolve. We were determined to demonstrate that these projects can be done and that our stories can captivate audiences. The box office success in Mexico, where I Am Frankelda became one of the highest-grossing films of the year, including live-action, and the highest-grossing animated film since the pandemic, stands as a powerful testament to that. We have cultivated a passionate fan base, and that has been incredibly validating.

Overcoming Financial Hurdles: The Mexican Film Industry Landscape

Cartoon Brew: You’ve mentioned in prior interviews that the financing culture in Mexico is discouraging for artists. Is it just understood that if you want to make something, you’re going to have to fund it yourself? Were you prepared for that?

Roy Ambriz: I believe we’ve been preparing for this moment since childhood. Our love for toys, our weekend visits to museums and theaters, and our constant daydreaming about grand narratives and custom-made dioramas for our action figures – all of this laid the groundwork. For 15 years, since graduating film school, we’ve been working diligently at Cinema Fantasma in Mexico City, with the singular goal of making a feature film. The path has been arduous and, at times, seemingly impossible. We were constantly searching for that opportune moment.

When Warner Bros. offered a portion of the budget, we saw it as our chance. There was no hesitation; we simply said "yes." The prevailing sentiment in Mexico was that it was an impossible feat, and we received no grants to support this endeavor. We felt a profound responsibility to prove that such ambitious projects could be realized. The notion that Mexican audiences weren’t interested in these kinds of films was a narrative we were determined to shatter. The film’s remarkable box office performance in Mexico, ranking third overall and becoming the highest-grossing animated film post-pandemic, has definitively proven them wrong. We’ve built a devoted fan base that eagerly supports our work.

The Agile Production: Innovation Under Pressure

Cartoon Brew: Was there anything that you learned from prior projects that helped you and your artists to be more efficient in the making of I Am Frankelda?

Arturo Ambriz: From the outset, we knew the initial budget wouldn’t be sufficient for a feature film. This necessitated a significant degree of ingenuity and resourcefulness. We operated under intense time constraints, which meant we couldn’t afford to second-guess our creative decisions. We began writing the screenplay, and within three weeks, we were already animating. It was an extraordinary, simultaneous process of writing, editing, building, and animating. While this approach might not be replicable for every project, it was the only viable path given the specific circumstances of creating this film.

This situation presented a unique opportunity for experimentation, not only visually but also in terms of agile production. We learned to make rapid decisions and adapt our approach as we progressed. The outcome is a film that feels incredibly alive and energetic, a testament to its imaginative origins yet grounded in a tangible reality. The process was both fun and messy, ultimately yielding a vibrant, colorful musical, and we are immensely proud of that journey.

Defining Moments: "The Prince of the Reign of Terrors"

Cartoon Brew: Knowing you had something to prove with this film, is there a sequence that best represents the pinnacle of your ambition and execution?

Roy Ambriz: Without a doubt, the song sequence, "The Prince of the Reign of Terrors," represents the apex of our ambition for this film. We felt compelled to create this film, in large part, to realize that specific scene. Our vision was for all the monsters to sing in their unique styles, creating a slightly experimental and deeply artistic moment. We are passionate about experimental cinema, and we believe stop-motion is the ultimate medium for exploring diverse artistic techniques.

For this sequence, we incorporated approximately 200 oil paintings, inspired by the works of Immanuel Kant. We aimed to emulate the powerful ensemble numbers found in musicals like Les Misérables, where individual characters express themselves before converging in a dramatic crescendo. This is precisely what we sought to achieve, and we are exceptionally proud of that particular moment. While we are proud of the entire film, this song holds a special place in our hearts.

Festival Acclaim and the Power of Fan Engagement

Cartoon Brew: You were able to take I Am Frankelda to several major festivals in 2025, including the Guadalajara International Film Festival and Annecy International Animation Film Festival, where it was very well received. Did you walk away with any new insights or peer advice?

Arturo Ambriz: The distribution phase proved to be an incredibly valuable learning experience, something we hadn’t fully anticipated. While showcasing the film at these esteemed festivals was immensely rewarding, we realized that for audiences not specifically attuned to animation, the film’s initial length was a bit of a challenge. Guillermo del Toro’s insightful guidance was instrumental in trimming the film down, allowing the most impactful elements to shine. Although some fans in Mexico expressed a preference for the original cut, we firmly believe the revised version is stronger.

However, the most profound reactions have come not from the industry, but from everyday audiences, particularly in Mexico, where it has already enjoyed a theatrical run. The fan base has been extraordinary, generating an outpouring of fan art, fan fiction, cosplays, toys, piñatas, cakes, and musical interpretations. We are consistently inundated with creative expressions of love for the film. We believe I Am Frankelda inspires creativity and provides symbolic permission for individuals to embrace their authentic selves and pursue their artistic endeavors. This response is, for us, the ultimate reward.

Roy Ambriz: Whenever we find ourselves feeling down or anxious, the sheer volume of incredible fan-made content provides immense inspiration and a deep sense of validation. It reassures us that we are contributing something positive to the world and encourages us to continue creating films that bring joy to audiences.

Mentorship from a Master: Guillermo del Toro’s Influence

Cartoon Brew: Circling back to del Toro, he went through his own stop-motion journey with Pinocchio. Is there anything that he shared with you that is shaping how you think about future projects?

Roy Ambriz: Collaborating with Guillermo del Toro as our mentor has been an absolute dream come true. My decision to pursue filmmaking was inspired by his masterpiece, Pan’s Labyrinth, so this experience has been unparalleled. Guillermo has provided invaluable support, not only technically but also in navigating the moral and practical aspects of distribution. He was instrumental in securing distribution in Mexico and, subsequently, with Netflix. We’ve absorbed so much from him, from understanding the nuances of short films versus feature-length narratives to recognizing the paramount importance of emotional resonance in a film, prioritizing character’s emotional truth over strict logical adherence. He has profoundly influenced our understanding of camera movement and visual storytelling within each shot.

When we decided to edit the film, he not only advised on the cuts but also supervised the animation of ten additional minutes. He engaged in daily video calls with us, reviewing new shots and speaking directly with our animators and the entire team. He helped us deconstruct the opening scene with Francisca and her mother, leading to significant learning. However, the most impactful lesson from Guillermo is learning how to be better human beings. His generosity in sharing his knowledge and supporting others is deeply inspiring, and we aspire to emulate that filmmaker ethos.

Cinema Fantasma: A Flourishing Hub for Stop-Motion in Mexico

Cartoon Brew: That’s a perfect segue to talk about your independent stop-motion studio, Cinema Fantasma. The stop-motion technique is having a bit of a renaissance right now. Why do you think Mexico is becoming a hub for this type of animation right now?

Arturo Ambriz: Mexico has an intrinsic artistic spirit that permeates every aspect of life, from its thousands of museums and galleries to its architecture, music, fashion, and bustling marketplaces. Mexico City, our home and the location of our studio, is a constant reminder of humanity’s capacity for creation and innovation. There’s also a strong element of improvisation and resourcefulness, a tradition of passing down and modifying objects rather than always acquiring new ones. This cultural ethos is incredibly influential. Furthermore, being in Mexico allows us a certain independence while remaining connected to the global industry. We visit Los Angeles multiple times a year, but we maintain the freedom to create films in our own authentic way.

Cartoon Brew: What’s your headcount now at the studio?

Roy Ambriz: Over 100 people contributed to the production of Frankelda. Following its completion, we’ve had to scale back slightly. We are now embarking on our next project, and we’re hopeful that our team will grow again soon.

A crucial aspect of our work at Cinema Fantasma is education. Through "Cinema Fantasma Edu," we offer classes designed to equip young Mexican artists with the skills and knowledge relevant to their local industry. Unlike workshops that often focus solely on the U.S. market, we emphasize how the Mexican industry operates, its unique challenges, and how to bridge the gap between global and local filmmaking practices. We share our learnings, both successes and failures, believing that transparency and shared knowledge are vital for fostering a thriving creative community. This commitment to sharing is something Guillermo also champions, encouraging the creation of more stop-motion studios across Mexico. The accessibility of stop-motion, requiring less technological infrastructure and allowing for artistic expression with everyday materials, contributes to its growing popularity here.

The Analog Appeal: Stop-Motion in a Digital Age

Cartoon Brew: Stop-motion is all about analog creation, and younger generations are responding to that, even by seeking out vinyl and physical media. Do you think that mindset is also creating a groundswell of artist interest in Mexico, especially for stop-motion?

Arturo Ambriz: For us, the filmmaking process itself is paramount, often more so than the final product. It’s akin to the appeal of cooking shows; viewers may not taste the dessert, but they appreciate the artistry involved in preparing the ingredients. The filmmaking process is where our true enjoyment lies.

Roy Ambriz: While the end result must be compelling, it is a direct consequence of a meticulous and rewarding process.

Arturo Ambriz: I often recall Michael Caine’s advice on acting: he avoids roles that require enduring extreme weather conditions. Similarly, the process of filmmaking, especially stop-motion which demands years of dedication, becomes our life. We must choose projects that resonate deeply because they are an extension of ourselves. In stop-motion, the creation of each shot holds as much value as the final film. We find immense satisfaction in this dedication and intend to continue creating films that, much like vinyl records, offer a tangible and enduring artistic experience.

Navigating Industry Shifts: Resilience and Future Endeavors

Cartoon Brew: The animation industry is going through a lot of flux and contraction. How does that impact what you do next?

Roy Ambriz: Our experience operating in Mexico, a landscape where a robust animation industry has never been clearly defined, has inadvertently provided us with a degree of resilience. The current industry shifts feel familiar to us, as we’ve always navigated an unconventional path. We are immensely grateful to be part of the Netflix family with I Am Frankelda and are eager to embark on new projects. We are currently developing a new feature film titled Battle of the Phoenix. While its ultimate destination remains uncertain, we are embracing the journey and the creative freedom it offers.