After getting sidetracked with a few commercial entries - Blade II and Hellboy - del Toro's sixth feature reignites his very own vivid imagination as explored in his earlier films.
With Franco-era Spain as a backdrop (a setting also used in The Devil's Backbone), we are quickly drawn into the Alice in Wonderland-like imagination of young Ofelia (played wonderfully by Ivana Baquero), who struggles in her new life with her ailing mother and cruel nationalist stepfather, whose only interests are the delivery of his unborn heir and terrorizing everyone around him. After arriving at the captain's outpost, Ofelia explores the labyrinth hidden deep in a gnarled tree. She's met by the ambiguous guardian faun Pan, who tells her she's the princess of this world and that she must finish three perilous tasks to fulfill her destiny.
Del Toro has proven himself a masterful visual storyteller; the film could almost be viewed as a picture book. Goya-influenced images aren't just for decoration, they tell the story. Beautiful and terrifying creatures are as incredibly designed
The elegant narrative is never weighed down with ideological constraints. Realism coexists with the fantastic, where imagination can be just as dangerous as the war outside, and equally inescapable. This ain't no Disneyland; this is how cinematic fables should be.
Pan's Labyrinth
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