Mama Hungara Mexico Signs Fernando Cattori

Mama Hungara has signed director Fernando Cattori to its roster. 

His talent for narrative and the construction of his own language has positioned Cattori as one of the best Mexican directors of his generation.

Born in Mexico City and raised in Isla Mujeres, Fernando graduated from the Universidad Iberoamericana de Ciencias de la Comunicación. During his academic training Fernando immersed himself in the study of acting and theatre in high school, later deepening his knowledge by studying Communication and Advertising at IBERO. At the same time as this, he worked as a filmmaker for emerging brands in the Mexican fashion industry. His unique look and high sensitivity caught the attention of the film industry, being recognised as a director at the early age of 22. Since then he has collaborated with prestigious brands both nationally and internationally, directing music videos and participating in various editorial projects. He has also ventured into acting, starring in several films. Beyond his dedication to the world of cinema, Fernando cultivates interests in fields such as psychotherapy, contemporary dance and self-fiction literature.

His sensitivity and mastery of storytelling as a director with an emphasis on the 'fractures' of narratives rather than hiding or disguising them, allowed him to develop another level of understanding with the camera. Versatile and talented, Fernando excels not only as a director but also as a photographer and actor. His film career as an actor includes leading roles in films such as 'Ceremonia' by Dan Chávez, 'Contigo en el Futuro' directed by Roberto Girault and 'Delincuentes', his latest Netflix film directed by Beto Hinojosa. Recently, he presented his latest work, 'Nacimos Llorando', a short film in collaboration with Chilean artist Rubio and shares main credits with Alfonso Herrera, Ximena Lamadrid and Juan Pablo Fuentes. Despite being at the beginning of his career, Fernando already has three leading roles to be released. 

Find out more about him below. 

Q> Fernando, let's start at the beginning - What were you like as a child and what were your first steps as a director?

Fernando> I'm the youngest of three brothers, I didn't have many friends, I was reserved, very observant. That led me to film very well with my digital camera. I remember starting editing my own creations when I hacked an editing software. At that time I began to see my future in the world of filmmaking. 

Q> Where does your urban aesthetic come from?

Fernando> I remember from a very early age my innate interest in urban aesthetics and architecture, especially skyscrapers and the majesty of urban structures. In my childhood, when I moved from Mexico City to Isla Mujeres, there was a certain change in me, the architecture I loved so much had changed. My father sensed a certain melancholy in me so he gave me a JVC camcorder to keep me entertained I guess.

Shooting a commercial for Palacio de Hierro (Terán TBWA, CDMX 2023)

Q> How is your relationship with new technology and what uses are you implementing when shooting a commercial?

Fernando> Curiosity is key. You always have to explore, get to know and introduce yourself to new things. In terms of technologies, I think we should absorb what is useful and faithful to us. There are tools that I admire in other films, but I wouldn't necessarily integrate them into my own work. For example, programmed robotic arms are incredibly precise and do things that humans could not do on their own, but I feel they detract from the art of filmmaking, making it more artifice than substance. I appreciate technological advances when they have to do with optics or lighting. On the other hand, I'm very excited about how technology is democratising the industry. Cameras and lighting are becoming more accessible. When I first started shooting my YouTube videos I used a handycam. Today, I'd probably use an FX3, a much better option at about the same cost. Finally, I can't ignore all the hype around AI. Midjourney  is an excellent tool for exercising the imagination and getting to grips with the language of prompts. It's not easy, but it's very helpful, especially when it comes to visualising ideas.

Q> In your opinion, what is the most important relationship a director should have or who do you rely on most when making a commercial and why?

Fernando> In my opinion, a director must inspire confidence and remain calm on set. I firmly believe that the relationship must be horizontal with the whole team and elevate those who enrich your work, especially the 'invisible heroes': the AD's, the gaffers and the post-production team. It is vital to be open to sharing the baton and to allow the producers to nurture and guide you. This not only strengthens the project, but also creates a more collaborative and enriching working environment for everyone.

Q> What do you think will be the future of advertising in the next 10 years?

Fernando> I hope that longer formats will not be abandoned. Although today there is a clear trend towards short 6 or 8 second advertising content, I still believe that captivating with a story will always cross a threshold that these short clips will never reach. Things are moving faster than our ability to reflect on this change. I am hopeful that storytelling will once again become the main hook for creativity, a more emotive and intelligent one. I also believe that branded content will proliferate, becoming more and more evident on streaming platforms.

Q> Before finishing, what advice would you give to a director who is just starting out?

Fernando> Do everything! Act, produce, edit, etc. I would suggest that they watch YouTube and Vimeo every day and dive into films. Pick your 5 favourite directors, 5 favourite cinematographers and 5 favourite editors, and learn from them. Be open to criticism. I’d like to add a piece of advice from my father, take advantage of the "guerrilla" period, which in retrospect will always be the most profitable.