For its painstaking physicality alone, stop-motion is inherently impressive as an animation technique, no matter the scale or budgetary specifics of the project. But when artists, like those behind the ambitiously crafted phantasmagorical musical “I Am Frankelda,” throw caution to wind to build an imposing universe to animate frame by frame, one can’t help but feel in utter awe — warts and all.
Gothic sets with baroque architecture — that not only catch the eye but prompt one to wonder how they were conceived — serve as the backdrop to the similarly ornate puppets in the first stop-motion feature fully produced in Mexico (Guillermo del Toro’s Oscar-winning “Pinocchio” was
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