Mama Hungara Mexico 2025: Expansion, Local Talent and Creative Vision
Under the leadership of Tomás Gómez del Fresno, managing director of Mama Hungara Mexico, the production company’s second year in the country was not only about growth, but about consolidation. It marked a year of artistic maturity, talent expansion and the strengthening of a creative vision that is already setting the Mexican office apart within the region.
The Mexico City hub has established itself as a space where innovation, aesthetic sensitivity and multidisciplinary talent converge, qualities that are increasingly shaping today’s creative industry.
Structural growth with a talent-driven vision
2025 was the year in which Mama Hungara’s Mexican operation reached a new level of maturity and strength. New directors, producers and creative professionals joined the team, expanding its narrative capabilities and operational scope, while preserving the boutique spirit that defines Mama Hungara.
Director and actor Fernando Cattori (left), extraterrestrial researcher Jaime Maussan (centre) and director Tomo Terzano (right) on set during the filming of the ‘Stranger Things’ campaign for Netflix.
One of the year’s key milestones was the consolidation of Mexican talent, with Fernando Cattori as a central figure. A house director and, in parallel, an actor with growing international recognition, Fernando gained global visibility through ‘The Summer I Turned Pretty’, presented this year in Paris, as well as the Netflix release of the feature film ‘Las Locuras’. His rise, already highlighted by international media, positions him as a talent on the ascent and represents a strategic opportunity to reinforce the Mexican office as a place where creativity intersects with entertainment and performance, a distinctive strength within the region.
Mexican director Gina Velasco with the crew on the set of Jaecoo
This was further reinforced by the arrival of Ricardo Castro, a director with a solid track record across commercials, music videos and feature films, including ‘El Club Perfecto’ (2025), his debut feature ‘Los (casi) Ídolos de Bahía Colorada’ (Netflix) and ‘Adiós Adiós Adiós’. Joining him is Gina Velasco, whose creative signature is recognised in high-impact global campaigns. Their versatile, contemporary profiles encapsulate the spirit of Mama Hungara Mexico: talent that transcends formats, explores multiple visual languages and pushes the boundaries of audiovisual production.
Tomás Gómez del Fresno, managing director of Mama Hungara Mexico, with Mexican director Ricardo Castro on the set of Mercado Libre.
Standout projects and portfolio expansion
Throughout the year, the company delivered a body of work that reflects its identity: sensitivity, strong storytelling, creative risk and visual excellence.
Among the year’s highlights were ‘Stranger Things’ and ‘Wednesday’ projects for .Monks / Netflix, awarded directly, reinforcing international confidence in the Mexican team. The Clase Azul project, filmed in Oaxaca, adopted an experimental approach blending documentary, interview and contemporary art under the direction of Amador Montés. 'Jaecoo', directed by Gina Velasco and starring Badir Derbez, reaffirmed the company’s strength in fiction and premium aesthetics, while the Mercado Libre campaign directed by Ricardo Castro further expanded the studio’s commercial portfolio.
In parallel, Mama Hungara strengthened its relationships with Publicis Group, M&C Saatchi, Draftline, FCB, .Monks and Gut, among others, reinforcing the intersection of Latin American creativity and global sensibility through stronger projects, higher quality standards and a positioning rooted in talent, perspective and craft.
Director Martín Donozo filming the Netflix campaign, La Netflix lo Vale (‘Wednesday’).
Awards and recognition
2025 also brought significant accolades:
Silver | Best New Director for Fernando Cattori for ‘Recuérdame Viviendo’ at El Ojo de Iberoamérica.
Bronze | Digital & Social for the same campaign, which was also recognised by Scopen as one of the most influential pieces of the past two years in Mexico.
These awards validate the aesthetic and narrative consistency of the company’s directors, as well as Mama Hungara’s commitment to a more human, emotional and technically robust approach to commercial filmmaking.
Looking ahead
As it looks towards 2026, Mama Hungara Mexico is preparing for a year of further structural expansion, new talent additions and projects linked to the World Cup, while continuing to deepen the development of strong creative visions and collaborative projects.
While artificial intelligence is now part of the audiovisual ecosystem, the company remains firm in its belief that human sensitivity, acting and cinematic direction remain the irreplaceable core of the craft.
Mama Hungara enters 2026 with a clear differentiator: multidisciplinary talent, a contemporary vision and a genuine ability to generate culture; not just content.
A growing focus on entertainment
The arrival of Mama Hungara Live at Bellas Artes with soprano Nadine Sierra marked a turning point. The Mexican office is now moving towards a model that combines audiovisual production, creativity and entertainment, opening up new artistic and commercial opportunities across the region.
Mariano Nante (left), driving force and executive producer of Mama Hungara Live; Cuban-Mexican pianist Ángel Rodríguez; soprano Nadine Sierra; the singer’s manager, Solal del Castillo; and opera executive producer Elisa Wagner, ahead of the recital at Mexico City’s Palacio de Bellas Artes.
Along the same lines, the launch of FUTCON, the world’s first festival dedicated to the intersection of football and creativity, has established MH Live as a cultural player capable of creating experiences that transcend formats and connect with diverse audiences. Originating in Argentina with international ambitions, this territory expands the brand’s reach within the entertainment landscape.
Mama Hungara thus reaffirms its mission in Mexico: to develop talent, build culture and raise the creative standards of the Latin American market.
