Blab Entertainment
Netflixs I Am Frankelda Marks First Mexican Stop-Motion Feature Film
On June 12 2026, Netflix launched I Am Frankelda, the first full‑length stop‑motion feature produced in Mexico. The 104‑minute musical dark‑fantasy follows Francisca Imelda, a mid‑19th‑century Mexican writer who must confront societal disapproval and the monsters of her imagination to aid Prince Herneval in defending his kingdom.
The film serves as a prequel to HBO Max’s Frankelda’s Book of Spooks and was crafted by brothers Arturo and Roy Ambriz, who also penned the screenplay. Production took place at their independent studio, Cinema Fantasma, with Mireya Mendoza voicing Frankelda, Arturo Mercado Jr. as Herneval, Luis Leonardo Suárez as Procustes, and Beto Castillo as Rey Ficturo. Denis Walgenwitz produced the project.
The Ambriz siblings first showcased the feature at the 40th Guadalajara International Film Festival on June 6 2025, where it opened the program and entered the Best International Animation Feature Film competition. After a limited theatrical run in Mexico, the film became available worldwide on Netflix, expanding the platform’s Latin‑American animated catalog.
Creating a stop‑motion feature in Mexico proved difficult. In a ScreenRant interview, the brothers explained that they faced repeated rejections from national funding bodies, who doubted the feasibility of a stop‑motion feature in the country. They also had to build the necessary infrastructure from scratch, as Cinema Fantasma had no prior feature‑length experience. The Ambriz brothers said they hope their success will inspire other Mexican filmmakers: “I hope this film shows younger filmmakers and people who want to create things that it is possible to do.”
Guillermo del Toro’s mentorship proved pivotal. After a London meeting, del Toro encouraged the brothers to include a scene in which Frankelda sees her reflection transform into her human counterpart on a lake—a moment the directors had long dreamed of. He also offered practical support, contacting potential distributors and advising on navigating debt and financing challenges. The Ambriz brothers described del Toro as an “alchemist” who could turn negative experiences into positives.
The film’s narrative and character names carry layered references. Frankelda’s name derives from Mary Shelley’s Frankenstein and Mathilda; Herneval combines Herne from Shakespeare’s The Merry Wives of Windsor with Percival, a Knight of the Round Table; and Procustes references the Greek myth of the tailor who forced travelers to fit his bed. These etymological choices underscore the story’s exploration of storytelling as a transformative force.
A standout sequence is the musical number “Prince of the Realm of Terrors,” which blends singing, oil‑painting animation, and abstract set pieces. The Ambriz brothers noted that Mexican audiences applauded the number at theatrical screenings, affirming the film’s emotional resonance.
I Am Frankelda highlights the power of storytelling and female representation in Mexican cinema. The film’s release on Netflix provides global access to a culturally specific narrative that also speaks to universal themes of creativity, resilience, and the struggle to have one’s voice heard.
The film is a Netflix original available worldwide. Viewers can watch the feature on the platform from its release date, June 12 2026. The Ambriz brothers have announced plans to continue developing the Frankelda franchise, including potential future installments for the HBO Max series.
The film serves as a prequel to HBO Max’s Frankelda’s Book of Spooks and was crafted by brothers Arturo and Roy Ambriz, who also penned the screenplay. Production took place at their independent studio, Cinema Fantasma, with Mireya Mendoza voicing Frankelda, Arturo Mercado Jr. as Herneval, Luis Leonardo Suárez as Procustes, and Beto Castillo as Rey Ficturo. Denis Walgenwitz produced the project.
The Ambriz siblings first showcased the feature at the 40th Guadalajara International Film Festival on June 6 2025, where it opened the program and entered the Best International Animation Feature Film competition. After a limited theatrical run in Mexico, the film became available worldwide on Netflix, expanding the platform’s Latin‑American animated catalog.
Creating a stop‑motion feature in Mexico proved difficult. In a ScreenRant interview, the brothers explained that they faced repeated rejections from national funding bodies, who doubted the feasibility of a stop‑motion feature in the country. They also had to build the necessary infrastructure from scratch, as Cinema Fantasma had no prior feature‑length experience. The Ambriz brothers said they hope their success will inspire other Mexican filmmakers: “I hope this film shows younger filmmakers and people who want to create things that it is possible to do.”
Guillermo del Toro’s mentorship proved pivotal. After a London meeting, del Toro encouraged the brothers to include a scene in which Frankelda sees her reflection transform into her human counterpart on a lake—a moment the directors had long dreamed of. He also offered practical support, contacting potential distributors and advising on navigating debt and financing challenges. The Ambriz brothers described del Toro as an “alchemist” who could turn negative experiences into positives.
The film’s narrative and character names carry layered references. Frankelda’s name derives from Mary Shelley’s Frankenstein and Mathilda; Herneval combines Herne from Shakespeare’s The Merry Wives of Windsor with Percival, a Knight of the Round Table; and Procustes references the Greek myth of the tailor who forced travelers to fit his bed. These etymological choices underscore the story’s exploration of storytelling as a transformative force.
A standout sequence is the musical number “Prince of the Realm of Terrors,” which blends singing, oil‑painting animation, and abstract set pieces. The Ambriz brothers noted that Mexican audiences applauded the number at theatrical screenings, affirming the film’s emotional resonance.
I Am Frankelda highlights the power of storytelling and female representation in Mexican cinema. The film’s release on Netflix provides global access to a culturally specific narrative that also speaks to universal themes of creativity, resilience, and the struggle to have one’s voice heard.
The film is a Netflix original available worldwide. Viewers can watch the feature on the platform from its release date, June 12 2026. The Ambriz brothers have announced plans to continue developing the Frankelda franchise, including potential future installments for the HBO Max series.
