You know, moviegoers have been spoiled by impeccable stop-motion. The bar set by LAIKA or Aardman for miniature movements and hand-sculpted characters is very high, almost unfair. But, as Netflix says I am Frankelda reminds us, independent minds have ample opportunity to carve out their own niche. Brothers and sisters Arturo and Roy Ambriz, in collaboration with Cinema Fantasma, meet the prestige of LAIKA with Psycho Goreman-classical minds; the exuberant scrap metal overshadows the rougher technical chops. Mexico’s first independent stop-motion feature film is colorful, deliriously creative and a beautiful tale rich in Mexican lore – from the courageous David to many a refined and beloved LAIKA Goliath.
Please note, I am Frankelda is a prequel to Arturo and Roy’s Cartoon Network Latin America show, Frankelda’s Book of Ghosts— but basic knowledge is not required. We meet “Frankelda” before she was an icy blue specter, as Francisca Imelda (voiced by Mireya Mendoza). Her life is tragic: mom dies very young, grandmother is an evil witch and no one will listen to her horror stories. Francisca is Mexico’s 1866 teenage answer to Mary Shelley, aspiring to one day become a famous genre author. But she has an even greater vocation. An underground kingdom known as Topus Terrenus needs a new nightmare teller, and Prince Herneval (Arturo Mercado Jr.) thinks “Frankelda” would be a perfect fit.
From there we are transported to Topus Terrenus for the majority of the film. Francisca’s fleshy body remains on Earth, while Frankelda wanders with Herneval through the lush hellscapes of the royal son’s homeworld. A robust roster of demonic “leaders” roams the gothicly decorated rooms, from Procrustes (Luis Leonardo Suárez), a rotund tarantula hybrid who is jealous of Frankelda’s talents, to skeletal horse entities or pinkish goober gremlins. I do it Psycho Goreman comparison as no two nightmare creatures are alike, vibrantly designed to reflect Mexican folklore. There is an impeccable dedication to visual appeal not only in the original characters but also in the haunted setting and fantasy lands of Topus Terrenus.
Frankelda’s journey is near and dear to every writer. She writes with energy and confidence, which makes her a target of the mediocre, especially Procrustes. She represents fresh and youthful ideas, while he clings to old traditions, unable to admit his inferiority. Frankelda is gutted to hear disinterested feedback on her stories, as any writer would, and struggles with discouragement, but I am Frankelda is about protecting your flame and writing your own story. There will always be those who try to extinguish what burns within us, threatened by individuality, and the Ambriz brothers defend the power in destinies and the strength in our passionate beliefs. Not to mention teaching children who aspire to be writers about the dangers of plagiarists and inevitable encounters with predatory competition, all while preaching the importance of imaginative fiction.
That said, there is a big problem with I am Frankelda; it’s not exactly the cleanest stop-motion app. You may have seen Cinema Fantasma’s work on Adult Swim’s Women wearing shoulder padsbut otherwise, it’s a bit Robot chicken-y in comparison. The jumps in the stop-motion movements are larger than expected, and the illustration methods vary with action figures, hands-on accessories with costumed hands, spinning toys, and other means that don’t always flow together. There is an anarchic approach I am Frankelda it bounces around artistically, which can be exciting but also restrictive. The way one-dimensional backgrounds appear one-dimensional, or even shading changes within seconds, reflects that DIY quality that blocks certain shots.
However, it is also I’m in Frankelda charm. No one hides how cotton lint mimics clouds, or paint jobs are cruder, or how tailored clothes don’t exactly fit them. Arturo and Roy lean into imperfections as if they were badges of honor, proud of each frame simply for existing. There are so many things to do I am Frankelda-a family musical figurine with supernatural emphasis. The Nightmare Before Christmas makes such production look easy, but that’s why I respect I am Frankelda. It is made with love, promotes a heartwarming story and does not hesitate to realize its vision in any way possible while rewarding the audience.
It’s true that I am Frankelda isn’t it Paranormand Or Coralinebut it’s very good. Arturo and Roy prove that there is a place for stop-motion outside of the upper echelon of releases. I am Frankelda doesn’t skimp on naughtiness and whimsy, and the concept doesn’t waste any chance of bringing devious designs to life. It’s maximalist cinema on a limited budget, impossible to contain for better or worse. But even in its most complicated form, I am Frankelda is a pure delight that might inspire a whole new generation of stop-motion filmmakers to stop worrying about being the next LAIKA and just be themselves.
Music from the film: 3.5/5
