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Gina Velasco is a Mexican filmmaker who mixes aesthetic realism with a fresh, modern storytelling style, always tuned into the connection between image and sound. With a background in fashion, she’s developed a sharp eye for detail and stays hands-on throughout every project. Gina is all about capturing authenticity and spontaneity, crafting stories with soul that reflect little pieces of who she is.

Her work ranges from big global campaigns—like those for Bonafont, WhatsApp, Uni, Perrier-Jouët, and KFC—to personal projects that connect her with new cultures and push her creative boundaries. Gina moves easily across genres and disciplines, teaming up with diverse talents to create projects that go beyond borders. She approaches directing with a blend of careful planning and flexibility, always ready to adapt. For her, patience and persistence are key to getting things just right.

Name: Gina Velasco

Location: Mexico

Represented by: Mama Hungara

Awards: La Batalla de los Pollos for KFC: El Ojo de Iberoamérica: Bronze, Digital & Social, 2022. Effie Awards Latin America: Gold, Promotional Marketing. Bronze, Influencers, 2022. TikTok Awards: Best Conversion/Performance Campaign, 2023. Community Engagement, 2023 Círculo de Oro: Gold, Brand Entertainment. Silver, Influencer Marketing + Direct Marketing + Use of Influencers, 2022

Clients: Bonafont, El Palacio de Hierro, Four Seasons, KFC, Mercadolibre, Perrier-Jouët, Prada México, Sears, Shark Beauty, Spotify, Uni, WhatsApp.

Q> Gina, let’s start from the beginning. What were you like as a child, and how did you take your first steps as a director?

Gina> Daydreaming has been a constant in my life since I was little, creating films in my head where I’m often the protagonist. These reflections have always inspired my work. I decided to study fashion because of my love for editorial content. I’ve always been fascinated by print media, books, and magazines on paper. Being able to touch, smell, and flip through them is the ultimate experience for me. It was during a photography class at university, where we explored photographers from different genres, that I truly understood the power of images to convey emotions and tell stories visually. Despite my insecurities about not having formal film training, a DOP encouraged me to take the leap. I quit my office job, trusted my sensitivity and talent, and started knocking on doors.

“La Batalla de los Pollos” Campaign for KFC, winner of multiple awards.

Q> How has your background in fashion shaped your attention to detail and the way you direct?

Gina> Studying a creative discipline really helped me develop a sharp eye for detail. Every artist leaves a part of themselves in their work, and while trends come and go, I think it’s important to develop a personal style—whether that’s aesthetic, narrative, or both. I’d say my style leans towards realism because it’s just part of who I am, part of my personal essence and how I see the world. I like to think that my work captures a moment in time, reflecting a snapshot of history. Just like fashion, it’s heavily influenced by the social context and the particular moment we’re living through along the timeline.

Q> How would you define your aesthetic approach to realism, and how do you balance authenticity with visual appeal?

Gina> There’s nothing more beautiful or mind-bending than reality when you pay attention to the small details. Observing is an art, and I find beauty and inspiration in practically everything around me, on the street, in nature, in human relationships, in solitude, in sounds, and sensations. Rather than going for sensory overload, I aim to focus on meaning and emotion. I represent situations or moments that might seem mundane or go unnoticed by many, elevating them without compromising their authenticity.

This is where the magic of filmmaking happens. A strong cast that conveys belonging, spaces that feel real and lived-in, and production design that supports and enhances those elements are essential. I like to add a touch of drama with lighting, but it’s with the camera that I really allow myself to play. Post-production is just as crucial because it sets the tone and rhythm for how the story is told—editing, score, and sound design all play a part. I see every element as a piece of the puzzle, and none of them is any less important than the others.

Q> What type of work excites you the most? Is there a particular genre, theme, or style that you’re especially drawn to or want to explore?

Gina> I’m definitely most passionate about narrative pieces that allow for deeper storytelling, where you can really touch on sensitive subjects and connect with emotions. A film that resonates with your heart makes the meaning feel much more personal, and those are the ones that usually stick in your mind. I’m drawn to themes like inclusion and equity, Mexican identity, emotions, and music. I consider myself a curious person, and there’s so much to discover that I’m open to exploring any topic. There’s always something new to learn, and that’s all part of growing as a director and as an individual. I'm interested in music videos for their creative freedom and in commercials with a narrative background, like the recent Cerveza Victoria campaign for Day of the Dead, where I was in charge of the digital unit.

The latest Cerveza Victoria campaign for Day of the Dead, where Gina was in charge of the digital unit.

Q> What excites you most about the advertising industry right now, as a director? Are there any trends or changes that are opening up new opportunities?

Gina> I'm excited that Mexico is currently experiencing an expansive creative moment. There is an incredible amount of talent and impeccable craftsmanship. It's no coincidence that so many foreign production companies are opening offices here, and so many brands are choosing to produce in this country. Personally, I chose to work with Mama Hungara because it genuinely supports local talent. On the other hand, being a woman in an industry dominated by men is a challenge, and I love being part of a moment where gender barriers are gradually falling, transforming into something more inclusive. It’s a delight to see more women heading departments on set, giving it their all.

“High Season” Campaign for Bonafont.

Q> What’s your relationship with new technology, and how are you using it when shooting a commercial?

Gina> I’d say I’m a bit of an analogue director. While I’m not against new technologies, I tend to lean towards a more classic way of filming. I keep myself updated by watching the work of other directors, not just in advertising but also in film and music videos, and I look to incorporate styles that I find relevant both aesthetically and narratively into my own work.

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

Gina> Content is so fleeting these days—pieces of 6, 10, or 15 seconds—that it’s becoming increasingly difficult to create the deeper stories I often talk about. We’re flooded with trivial content, and I believe we’ll eventually reach a point where we need to invest in longer formats to genuinely connect and where meaning becomes essential. Younger generations are looking to connect in a more authentic and genuine way, and I think that’s a hook we can grab onto for creating compelling content.

Q> What would you say to those just starting out who are facing doubts about their path in the audiovisual industry?

Gina> It’s completely normal to have doubts and insecurities, but there’s no better way to find out if you’re on the right path than by experiencing it for yourself. It’s a really versatile universe where it’s not too difficult to jump from one area to another. You might think directing is your thing, only to discover along the way that you’re actually more drawn to art direction or production. This industry is incredibly dynamic; every project is different, and you get to meet creatives with various visions and ways of working. It’s a constant learning experience from everyone around you, and I think that’s one of my favourite aspects of this job.