The director has described his stop-motion remake as the third entry in a trilogy about children during war times. It reunites his three favorite subjects: kids, fascism, and bugs.
—a film that also features a young protagonist whodies while sacrificing herself for someone else only to discover that in doing so, she’s earned a second life. But temptation does not appear to bePan’s Labyrinth
takes place in 1944—years after the Spanish Civil War’s end. Ofelia and her very pregnant mother travel to the mountainous backcountry, where her stepfather, Captain Vidal, is working to wipe out guerilla Republican fighters. Vidal demands order at all times, and from all people.
Del Toro’s villains never have much use for children, whose creativity, spirituality, and impulsivity provides a perfect foil for fascists’ blind obedience. His narratives also tend to explore the consequence of that philosophy: young girls’ dreams collapse as they realize their only role in this system is to provide more baby boys for the state, and the boys, in turn, grow up too young as either orphans or would-be killing machines.
Ofelia does give into temptation once—when she starts gobbling down grapes in the infamous Pale Man’s lair after the fawn told her not to eat or drink anything. The fawn becomes furious and tells her that any opportunity that once existed to save her kingdom is over; she will forever be stuck in this wretched Earthly place, bound by mortality to be forgotten with the passage of time.
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