Magical, dark, and absolutely fascinating, Mexican directorGuillermo Del Toro’s movies are always some of the most memorable and enjoyable cinematic experiences you’re able to possibly get.
Like all great directors with a trajectory as large as his, Del Toro has multiple trademarks that characterize his body of work, trademarks which have been delighting his fans ever since 1993, when the auteur’s first feature film,Cronos, was released. From the bittersweet ending of movies likePan’s Labyrinthto the social commentary of something likeGuillermo Del Toro’s Pinocchio, these trademarks make this filmmaker completely unmistakable.
1A Sense of Childlike Wonder and Innocence
Since many of Del Toro’s movies, fromPan’s LabyrinthtoThe Shape of Water, draw inspiration from the tone and atmosphere of classic fairy tales, it’s no wonder that there’s a strong sense of childlike amazement at the world in most of his films, even ones without children protagonists.
The director’s films also explore how trauma and violence affect this childlike wonder and innocence. Though, in the end, this fascination with all that the world has to offer always prevails.
2Bittersweet Endings That Are As Poignant As They Are Hopeful
The ending of a film can either empower it or tarnish it. In the case of Del Toro, it’s hard to argue that the man sure knows how to end a story satisfactorily.
It’s inThe Shape of Water, it’s inNightmare Alley, it’s inCrimson Peak(perhapsDel Toro’s most tragically overlooked piece): his films often end with a poignant mixture of tragedy and hope, sadness and hope. These endings come off as genuine, and they make the filmmaker’s work pack even more of a punch.
3A Familiar Cast and Crew
In a Del Toro movie, you’re always bound to find a few familiar faces both in front of the camera and behind it, from actorsRon PerlmanandDoug Jonesto cinematographerDan Laustsenandrenowned movie composerMarco Beltrami.
Great directors always have frequent collaborators. It gives their filmography a sense of consistency and unity, and Del Toro’s case is no exception. His work with actors and crew across different movies ensures that despite their wide differences, all of them feel undeniably and noticeably his.
4Critiques of Fascism, War, and Power Dynamics
On multiple occasions,Del Toro has been vocalabout being completely anti-structural, anti-institutions, and anti-authoritarianism. As such, many of his films have strong criticisms of war and fascism, and contemplations on the fragility of power.
The auteur’s sociopolitical commentary is by no means one-note, though, and not nearly as simplistic as many lesser directors could lead it to be. Rather,Pinocchio’s treatment of Italian fascism andPan’s Labyrinthof Francoism are nuanced and complex examinations of the subject matter, handling it with the utmost sensitivity and smartness.
5Horror Lurking In Every Corner, Even in Non-Horror Movies
Del Toro has proved to be a master of the terrifying, the creepy, and the macabre sinceCronos, which is undebatably one of thebest Mexican horror moviesever made.
And though the director has tried his hand at horror on various occasions, not all of his movies belong predominantly to that genre. Even in those, however, whether it’s a dark fantasy fairy tale likePan’s Labyrinthor a mystery drama likeNightmare Alley, it feels like horror is waiting around every corner, sending shivers down any audience member’s spine.
6Characters Struggling to Escape a Restrictive Environment
The best drama always comes from the biggest conflict, and Del Toro’s films are full of complex, layered, riveting drama. Often, this comes from the character’s struggle against a restrictive environment, such as Francoist Spain and an abusive stepfather’s house inPan’s Labyrinthor amysterious epidemic in the filmMimic.
There’s always something undeniably entertaining about watching characters overcome seemingly hopeless environments against all odds. In this particular director’s films, it never fails to keep you on the edge of your seat.
7Religious Themes, Namely Catholic
Del Toro was raised Catholic, and has extensively talked about his complicated relationship with religion and spirituality. As one would expect, his movies are filled with religious themes and symbolism scattered throughout.
From the exploration of religion vs superstition inThe Devil’s Backboneto the vast religious symbols inPinocchio, there’s a lot related to this subject matter to be found in the director’s filmography. It’s a rich and complex presentation of hard-to-address themes, put in a very empathetic and clever way.
8Brutal Violence That’s Sparingly Used
Save for more action-heavy stuff likePacific RimandBlade II, one wouldn’t really say that Guillermo Del Toro makes particularly violent films. In most of them, violence is sparingly used – but when it’s present, it’s relentless and unforgiving.
Violence in Del Toro’s films is never gratuitous or simply there to be fun. Especially in films likePan’s LabyrinthandThe Shape of Water, it’s often used with strong symbolic intentions. When there’s blood and gore in one of the director’s movies, it always feels uncomfortable, intimate, and profoundly meaningful.
9Jaw-Dropping Makeup and Prosthetics
Throughout cinema’s vast years of life, the art of makeup and prosthetics to transform actors into unrecognizable characters has evolved greatly, and rarely is this evolution as evident as in a Guillermo Del Toro movie.
The director’s mixture of CGI, makeup & prosthetics, and practical effects to bring his various creatures and monsters to life never stops being jaw-dropping. Characters like Abe Sapien from Del Toro’sHellboyfilms and the Faun fromPan’s Labyrinthare among cinema’s most visually distinct characters, and for good reason.
10Monsters
Of course, the most noteworthy and iconic aspect of any individual Del Toro film, and of his entire body of work as a united entity, is the director’s use of monsters.
The auteur has given the world of movies some of its most iconic creatures, from the Pale Man ofPan’s Labyrinthto the Amphibian Man ofThe Shape of Water. And more often than not, the true monsters in Del Toro’s films aren’t the sympathetic scary creatures, but the evil people driven by power and violence.
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