B E N E A T H
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CATALOGUS CREATURA I T ’ S
B O I L I N G
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The Abyss
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B E H I N D T H E F E S T I VA L
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AWA R D S & R E C O GN I T ION S
The Realms
DI R E C T OR B IO
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F I L M S C H E DU L E
T H E DE V I L’S B AC K B ON E
H E L L B OY
PA N ’S L A B Y R I N T H
H E L L B OY: T H E G OL DE N A R M Y
PAC I F IC R I M
C R I M S ON P E A K
The End
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F E S T I VA L R E S OU RC E S
C ON TAC T I N F OR M AT ION
The Odyssey
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S A N F R A NC I S C O
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A L L H A L L OW ’S E V E 2 017
F E S T I VA L P E R K S
To learn what we fear is to learn who we are.
Shirley Jackson, The Haunting of Hill House (1959)
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EMBRACING CHILDLIKE CURIOSITY
T
he most interesting thing about a child’s curiosity is that the stimuli are often widely unexpected, and random. As children, we often indulged in the collected of stories, of heroes, of insectile shells, of coins, gears or even misshapen rocks, because to a child’s unfettered mind, wonder is at the corner of everything mundane or ordinary. In this film festival, Out of the Darkness, our sole objective is to kindle and grow this unbound curiosity of children in those who believe themselves to be part of a world that hides great danger in darkness, to sow the seeds of hope in those who still see the monsters behind fascist grins and gluttonous stares, to strengthen the goodness in those who find themselves chasing dark dead ends to make a better tomorrow.
Welcome, ye strong fellows, to the heart ofyour own darkness. May you find your way out, with the help of one of the greatest directors of the supernatural fantasy, to escape the darkness and return goodness to this world.
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THE MAN WITH A MILLION MONSTERS
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f ilm prodigy dedicated to Latin American cinema even as his success gave him a ticket to Hollywood, Guillermo del Toro earned a place as one of Time magazine’s 50 Young Leaders for the New Millennium before he
The Master of Highbrow Horror The Atlantic
even made his third film. Guillermo del Toro Gómez; born Oct 9, 1964) is a Mexican film director, screenwriter, producer, and novelist. In his filmmaking career, del Toro has alternated between Spanish-language dark fantasy pieces, such as the gothic horror film The Devil’s Backbone (2001), and Pan’s Labyrinth (2006), and more mainstream American action movies, such as the vampire superhero action film Blade
...a lifelong horror fanboy turned A-list director. The New Yorker
II (2002), the supernatural superhero film Hellboy (2004), its sequel Hellboy II: The Golden Army (2008),the monster film Pacific Rim (2013), and the most recent supernatural horror Crimson Peak (2015). Del Toro’s work is characterised by a strong connection to fairy tales and horror, with an effort to infuse visual or poetic beauty. He has a lifelong fascination with monsters, which he considers symbols of great power. Del Toro is known for his use of insectile and religious imagery, the themes of Catholicism and celebrating imperfection, underworld and clockwork motifs, practical special effects, and dominant amber lighting.
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He is also a prolific producer, his producing works include acclaimed and successful films such as The Orphanage (2007), Julia’s Eyes (2010), Biutiful (2010), Kung Fu Panda 2 (2011), Puss in Boots (2011), and Mama (2013). He was originally chosen by Peter Jackson to direct The Hobbit films; he left the project due to production problems but was still credited as co-writer for his numerous contributions to the script. In 2009, in an interview with Charlie Rose, del Toro described his Roman Catholic upbringing as excessively “morbid,” saying, “I mercifully lapsed as a Catholic, I say, but as Buñuel used to say, ‘I’m an atheist, thank God.’” He has also responded to the observation that he views his art as his religion by saying, “It is. To me, art and storytelling serve primal, spiritual functions in my daily life. Whether I’m telling a bedtime story to my kids or trying to mount a movie or write a short story or a novel, I take it very seriously.” Del Toro’s favorite film monsters are Frankenstein’s monster, the Alien, Gill-man, Godzilla, and the Thing. Frankenstein in particular has a special meaning for him, in both film and literature, as he claims he has a “Frankenstein fetish to a degree that is unhealthy,” and that it’s “the most important book of my life, so you know if I get to it, whenever I get to it, it will be the right way.” In an interview with Robert K. Elder for his book The Best Film You’ve Never Seen, del Toro explains his careful methodology: “I’m as thorough and as well-prepared as I can be in my filmmaking, and that came from the discipline of having to work as a make-up effects artist many, many, many times in my life.”
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Werewolves, vampires, ogres, this and that. I feel that monsters are here in our world to help us understand it. They are an essential part of a fable.
Del Toro views the horror genre as inherently
filmmakers can work with Mirada’s artists to
political, explaining, “Much like fairy tales,
create and produce projects that span digital
there are two facets of horror. One is pro-
production and content for film, television,
institution, which is the most reprehensible
advertising, interactive and other media. Mirada
type of fairy tale: Don’t wander into the
launched as a sister company to production
woods, and always obey your parents. The
company Motion Theory.
other type of fairy tale is completely anarchic and antiestablishment.”
Del Toro directed Pacific Rim, a science fiction film based on a screenplay by del Toro and
He is close friends with two other prominent
Travis Beacham. In the film, giant monsters
and critically praised Mexican filmmakers
rise from the Pacific Ocean and attack major
Alfonso Cuarón and Alejandro González
cities, leading humans to retaliate with gigantic
Iñárritu.The three often influence each
mecha suits called Jaegers.
other’s directorial decisions, and have been interviewed together by Charlie Rose. In fact,
Del Toro directed “Night Zero”, the pilot episode
Cuarón was one of the producers of Pan’s
of The Strain, a vampire horror television
Labyrinth, del Toro’s most prolific movie of
series based on the novel trilogy of the same
the entire career, while Iñárritu assisted in
name by del Toro and Chuck Hogan. FX has
editing the film that then went on to make
commissioned the pilot episode, which del Toro
millions.
scripted with Hogan and was filmed in Toronto in September 2013. FX ordered a thirteen-
On June 2, 2009, del Toro’s first novel, The
episode first season for the series on November
Strain, was released. It is the first part of
19, 2013, and announced that the series will
an apocalyptic vampire trilogy co-authored
premiere some time in July 2014.
by del Toro and Chuck Hogan. The second volume, The Fall, was released on September
After The Strain’s pilot episode, del Toro
21, 2010. The final installment, The Night
directed Crimson Peak, a gothic horror film
Eternal, followed in October 2011. Del Toro
that he co-wrote with Matthew Robbins and
cites writings of Antoine Augustin Calmet,
Lucinda Cox. Del Toro has described the film
Montague Summers and Bernhardt J.
as “a very set-oriented, classical but at the
Hurwood among his favourites in the non-
same time modern take on the ghost story”,
literary form about vampires.
citing The Omen, The Exorcist and The Shining as influences. Del Toro also stated, “I think
On December 9, 2010, del Toro launched Mirada
people are getting used to horror subjects done
Studios with his long-time cinematographer
as found footage or B-value budgets. I wanted
Guillermo Navarro, director Mathew Cullen
this to feel like a throwback.” Jessica Chastain,
and executive producer Javier Jimenez. Mirada
Tom Hiddleston, Mia Wasikowska, and Charlie
was formed in Los Angeles, California to be
Hunnam starred in the chilling, horrific tale
a collaborative space where they and other
that is almost classical in deliverance.
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CHRONOLOGY OF MONSTROUS ATTEMPTS Hitchcock and del Toro aren’t similar artists at all, really, except in their common dedication to purely visual, and visceral, storytelling.
F E AT URE F IL MS DIREC T ED (AL SO CREDITED AS PRODUCER)
F E AT URE F IL MS PRODUCED ( NO D I R E C T I O N I N V O LV E D )
1993
Cronos
1998
Un Embrujo
1997
Mimic
2004
Cronicas
2001
The Devil’s Backbone
2007
The Orphanage (El Orfanato)
2002
Blade II
2008
Insignificant Things
2004
Hellboy
2008
While She Was Out
2006
Pan’s Labyrinth
2010
Biutiful
2008
Hellboy II: The Golden Army
2010
Julia’s Eyes
2013
Pacific Rim
2010
Don’t be Afraid of the Dark
2015
Crimson Peak
2011
Puss in Boots
2017
The Shape of Water
2012
Rise of the Guardians
2013
Mama
2014
The Book of Life
2015
The Thin Yellow Line
2016
Kung Fu Panda 3
2017
Rings
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The director Guillermo del Toro won’t have a feature film out in 2016, but his brand—and his spirit—seem to be everywhere. And indeed, his spirit isn’t only contained in his directorial ventures, but also in his collaborations as a producer, artist and writer.
BIBLIOGR APHY
VIDEO GAMES PRODUCED
2009
The Strain
P.T.
2010
The Fall
Silent Hills
2011
The Night Eternal
Death Stranding
2015 Trollhunters
—Guillermo del Toro
“Well, the first thing is that I love monsters; I identify with monsters.” C ATA L O GU S
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C R I T IC A L M A S T E R P IE C E S Heather Willis
Even as a small boy Guillermo del Toro
and more recently off the stairs of his latest
was fantastically morbid in both his actions
(co-conspired with Matthew Robbins and
anddesires. Lucky for the world, although
Troy Nixey) masterpiece Don’t Be Afraid of the
del Toro has aged, he has not out grown the
Dark, 2011. Venturing within the sewers, the
uniqueoutlook/ideals he has on life and all of
underworld of Guadalajara was not sufficient
its possibilities. It is through these ideals that
at satisfying the young del Toro’s insatiable,
del Toro has been able, successful at bringing
morbid appetite for dissecting insects and
his thoughts, imaginations, and beliefs as to
other creatures to not simply get a better
“what theworld is” out for the rest of the world
understanding of them, but to absorb the glory
to take part in.
of their inner beauty. It was during this time that delToro’s imagination was fed from a
Through maintaining control of his ideas,his
menagerie of sources made available to him.
visions, and the scenes within a film Guillermo del Toro is able to bring his films to life witha
An avid and eager reader, del Toro took full
realism that transcends his personal overtures
advantage of these reference tools and began
(fingerprints) within each film.
to develop andhone the divine, grotesque skills and techniques collected not only through his treasured comic book collection and ancient stories of myths and legends, but as well as through the prolificknowledge he had gained from studying (ancient) art and anatomy from encyclopedias acquired by his father. His father had also won the lottery duringthis stage of his life, allowing him to collect a vast assortment of animals to aid in his studies, his visualization of what was realistically possible among all different types and forms of life. Del Toro’s movies are definitely a
16
Although del Toro was quite the typical boy…
bar above the rest of his colleagues as they are
melting sewer slugs with salt for fun, healso
personal to him, to his life, to his story. He is
possessed an unusual uniqueness, with such
not satisfied, nor is he interested in producing
requests as Mandrake Roots for Christmas (at
afilm with the sole purpose of bringing in
the age of 5) so he could conduct some black
money…being a box office hit. He has spent
magic, that has carried him through his life
his entirelife absorbing everything there is
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to know about “monsters”, fantasy and horror; be it from books/novels, comic books, art, legends, mythology or fables…del Toro has no disconcertations about the genre of his source, but rather, in his own words, he “embraces and enshrines it …looking upon it as though it were a cathedral of possibilities.” danger. I feel he has mastered the ability to There is no escaping del Toro’s macabre
manipulate “shadow play”transitioning to/from
fascination with the afterlife when he invokes a
a dark, unlit area.
childhood memory of his time as a volunteer at the local hospital and stumbles upon a stack of
A secret fantasy/magical world in which one
fetuses waiting to be embalmed. It was in this
finds while trying to escape from the day to day
moment that del Toro realized anyone can be
stresses. I believe del Toro uses such fantasy
robbed of life…even the innocence of a baby.
worlds (scenes) to not only spark the imagination within the viewer, but to spark a memory…to
It is also this memory that is used to set the
transport their mind back to a time when they
moodand carry the overall tone of The Devil’s
personally sought such an escape, to evoke a
Backbone through visuals like laparoscopic
pure and primal emotion from within that tends
photos of a baby in utero during the opening
to get lost, buried asthe stresses of adulthood
credits and the jars of embalmed babies, as well
weigh down on us.
as being the basis behind the use of amber fluid in the basement pool…the final resting
And last, the use of “not of this world” creatures
place for two of the stories characters.
that can move without issue within their world of magic, our world of disbelief and ignorance,
Although del Toro boasts that he does not
and the world betweenwhere things rest nearly
want to produce “repeat” films (resembling
in limbo.
another), he openly admits that his films are “personal and vision-driven”, and there are
For del Toro, the film containing a personal
certain themes that he tends to carry with him
overture within it is just as important as
through the films; be it one of “his” films or
maintaining realism within the creatures and
a film that he has signed onto. These themes
settings. He lives to reveal a bit of himself in
invariably include:
his films by taking bits of actual moments from his life and entwining into the story, adding to
The use of bugs, which I believe represents
the personalization, the realism in his films.
his childhood especially that of histime spent
Through fine tuning his beliefs about fables
in the dark, damp sewers. It is there where he
del Toro has become a master of horror and the
likely noticed the way in which shadows dance
macabre arts; it is the creatures del Toro releases
across surfaces adding an air of mystery and
from his brilliant mind that give his films life.
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The real world is where the monsters are.
Rick Riordan, Percy Jackson and the Olympians #1 : The Lightning Thief (2006)
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FESTUM MONSTRAE When it comes to supernatural fantasies, it’s always good to schedule your visits to horror much ahead of time, especially since this is going to be the monsterfest of your life.
08:00 PM
08:00 PM
08:00 PM
SHOWING:
SHOWING:
SHOWING:
OCTOBER 25, 2017
OCTOBER 26, 2017
OCTOBER 27, 2017
The Devil’s Backbone
Hellboy
Pan’s Labyrinth
A boy moves to an
A scientist adopts a
A young girl moves into the
orphanage, only to find that
mysterious child from
middle of nowhere with
he was replacing another
another world, one whose
her mother and step-father,
boy who went missing the
destiny is either destroy or
only to discover whole
day a bomb landed on the
save the entire world.
hidden realms existing
orphanage.
alongside brutal and unforgiving reality.
08:00 PM
08:00 PM
08:00 PM
SHOWING:
SHOWING:
SHOWING:
OCTOBER 28, 2017
OCTOBER 29, 2017
OCTOBER 30, 2017
Hellboy 2: the Golden Army
Pacific Rim
Crimson Peak
Alien monsters invade an
A young, aspiring author’s
An elven prince resents
unprepared earth, forcing
life is turned upside
his father’s decision to
mankind to forge giant
down when she falls in
retain peace in a world
warriors of metal, neurons
love with a mysterious
of cruel humans, and
and electricity. A man who
foreigner. Suddenly, all
mercilessly pursues
has lost a brother, a girl
her childhood nightmares
the ultimate weapon of
whose childhood trauma
come true, and her own
mankind’s annilhilation.
cannot be escaped and
life hangs in balance when
The only thing in his path,
their brave comrades battle
she discovers the terrible
however, is humanity’s
to keep the planet safe.
truths about her new
foremost savior.
family.
What is a ghost? A tragedy condemned to repeat itself time and again? An instant of pain, perhaps. Something dead which still seems to be alive. An emotion suspended in time. Like a blurred photograph. Like an insect trapped in amber. 22
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T HE DE V IL’ S B A C K BONE 2 0 0 1
R ATED “R”
After a 12-year-old, whose father has died in the Spanish Civil War, arrives at an ominous boys’ orphanage, he
FA N TA S Y / D R A M A / WA R
discovers the school is haunted and has many dark secrets that he must uncover.
S PA N I S H / E N G L I S H
M A R I S A PA R E D E S , EDUA RDO NORIEGA, FEDER ICO LU PPI, F E R N A N D O T I E LV E
S C R E E N P L AY / S T O R Y
GUILLERMO DEL TORO
CINE M AT OGR APH Y
G U I L L E R M O N AVA R R O
MUSIC
J AV I E R N AVA R E T T E
EDITING
LUIS DE L A MADRID
20 APRIL 2001
RUNS 106 MINUTES
SUMMARY Also known as El Espinazo del Diablo (Spanish)
DTS | DOLBY DIGITA L
After losing his father, 10-year-old Carlos arrives at the Santa Lucia School, which shelters orphans of the Republican militia
1.85 : 1
and politicians, and is taken in by the steely headmistress, Carmen, and the kindly professor, Casares.
M A D R I D F I L M S . A . , S PA I N
Soon after his arrival, Carlos has a run-in with the violent caretaker, Jacinto. Gradually, Carlos 35 MM (KODAK V ISION
uncovers the secrets of the school, including
250D 5246, VISION 500T
the youthful ghost that wanders the grounds.
5279)
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CAST
CREW
Marisa Paredes
Carmen
Eduardo Noriega
Jacinto
Federico Luppi
Dr. Casares
Fernano Tielve
Carlos
Íñigo Garcés
Jaime
Irene Visedo
Conchita
José Manuel Lorenzo
Marcelo
Francosco Maestre
El Puerco
CASTING
Sara Bilbatua
Junio Valverde
Santi
PRODUCTION DESIGN
César Macarrón
Berta Ojea
Alma SE T DECOR AT ION
María del Pilar Revuelta
COSTUME DESIGN
José Vico
PRODUCTION
Agustín Almodóvar Pedro Almodóvar Rosa Bosch Guillermo del Toro Bertha Navarro Michel Ruben
WRITING
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Adrián Lamana
Gálvez
Daniel Esparza
Marcos
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Guillermo del Toro Antonoio Trashorras David Muñoz
L OC AT IONS
MPA A R AT ING
Talamanca del Jarama, Madrid, Spain
Sex & Nudity : 6/10
Cubillo de Uceda, Guadalajara,
Violence & Gore: 7/10
Castilla-La Mancha, Spain Profanity Alcohol/ Drugs / Smoking Fright / Intense Scenes: 10/10
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S e p t e m b e r
2 0 ,
2 0 1 3
THE VOL ATIL IT Y THAT IS LURK ING IN THIS ORPHANAGE IS MUCH DEEPER THAN THE MERE POL ITICS OF MEN.
A MO S T H A UN T ING TA L E Dorothy Burk, PopMatters
“What is a ghost? A tragedy doomed to repeat
The volatility of the orphanage, like the
itself time and time again? An instant of pain,
volatility of the bomb that lies at its center,
perhaps. Something dead which still seems to
is initially hidden from view. It seems like a
be alive. An emotion, suspended in time. Like a
desperate, sad place, but how else might an
blurred photograph. Like an insect trapped in
orphanage caught in the midst of a civil war
amber.”
seem? No, the volatility that is lurking here is much deeper than the politics of men. From the
—Narrator, The Devil’s Backbone
film’s very opening scenes, where we see young Jaime kneeling over the body of a dying boy, we
“This is The Devil’s Backbone the way the devil
know that there is evil within this place that
intended it to be seen,” says director Guillermo
cannot be easily known or expunged.
del Toro in his introduction to the Criterion Collection release of his weighty, gothic horror
For Carlos, adjusting to life at the orphanage
masterpiece. The Devil’s Backbone (El Espinozo
is tough. No one has told him that his parents
del Diablo) is set in a leftist orphanage in a rural
are dead, but it quickly becomes apparent to
area during the final year of the Spanish Civil
him that he might not be in the orphanage if
War. Young Carlos (Fernando Tielve) is brought
they weren’t. A relatively well-educated child
to the orphanage by his tutor, a republic leftist
who arrived at the orphanage with a tutor,
fighter who can’t care him after the death of the
he also becomes a target for the other boys,
boy’s father in battle.
especially Jaime.
Doctor Casares and Carmen run the home for orphans, where they are also concealing a large stash of the leftist cause’s gold. Because of its strong connections to the resistance movement, the orphanage becomes a target for Franco’s troops. When Carlos arrives in the outer courtyard, he immediately notices a large, undischarged bomb sunken into the ground. While a teacher assures Carlos that the bomb has been defused and won’t explode, it’s power as a signifier remains.
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OU T OF T H E DA R K N E S S F I L M F E S T I VA L
It’s on this first trip to the kitchen that we hear about the one who sighs, an unknown phantasm that haunts the orphanage at night. Though none of the boys have said as much, Carlos wonders if the mystery of the one who sighs is somehow connected to the disappearance of one of the orphans, Santi. While Carlos begins to investigate the mysterious ghost, the adults around him navigate through a maze of political and relational conflicts. Carmen, whose wooden leg is another of del Toro’s metaphorical devices, struggles to match her leftist idealism against a newer, more totalitarian mindset represented by the orphanage’s groundskeeper, Jacinto. The potency of their growing ideological conflict is matched only by the angst of their secret and rather incestuous relationship. Lovely young teacher Conchita (Irene Visedo) emerges as one of the film’s chief moral victors, but also as one of its most tragic characters. What makes The Devil’s Backbone extraordinary is that it doesn’t rely on the supernatural scare tactics of most horror movies. Instead, del Toro opts for magical realism, where the everyday world is altered by some thing or event that seems explicitly imaginary but has become real. Carlos is guided on his quest to discover some essential kernel of truth about the orphanage by a
27
ghost his own age; a child who has obviously been subjected to some brutality. In the end, the horror is not that something otherworldly has violated the innocence of a child, but that it is precisely someone non-magical, someone completely human who is revealed as a beast worse than any monster a special effects artist could dream up. The influence of Spanish gothic romance is clear in many of del Toro’s narrative and creative decisions. By reinventing gothic tropes or employing them in unfamiliar locations, the director is able to make clear ties to the sort of fairytale nostalgia that works as the ideological prop behind magical realism. In an interview on the bonus features disc included with the collection, del Toro reveals that what makes the
nuances and powerful moments of melancholy
fairytale elements in the film powerful is their
float out of each film, striking the viewer with
situation against moments of great darkness.
that indescribable sentiment so often inspired by magical realism.
The Devil’s Backbone ends with the same voiceover with which it began. As the narrator asks us, “What is a ghost?”, we weigh the
THE DIRECTOR’S CUT
description with which he presents us. The words, already powerful at the beginning of the
As with so many of del Toro’s apparently
film, have earned a new melancholy. No matter
fantastical imaginings, the inspiration for Santi’s
how many times you’ve seen what del Toro calls
ghostly presence was drawn from his own real-
his “first film”, you can’t help but feel the shiver
life experience. As a child, del Toro says, he
run up your own backbone as the narrator softly
made a pact with the monsters in his bedroom,
intones that a ghost is “an emotion, suspended
overcoming his night terrors by befriending the
in time”.
apparitions that haunted his waking dreams. So when, at the age of eleven, he heard the sound of
B E H I N D T H E D E V I L’ S B A C K B O N E
his deceased uncle sighing in the room where he had once lived, rather than being terrified by the
The story of a child taken to a new, dangerous
experience, he stored the memory away, keeping
place during the Spanish Civil War is repeated
it, nurturing it, until one day it could be used to
in Pan’s Labyrinth (2006), which del Toro says
creative ends.
is the sister film to The Devil’s Backbone. In
28
fact, the director insists that the viewer watch
This has always been a key to del Toro’s work—
them together in order to best understand the
the triumph of sympathy and melancholia
films and their parallel, “rhyming” structure. We
over terror. No wonder critic Roger Ebert
tried this viewing experiment and can assure
described The Devil’s Backbone as “a mournful
you that it pays to listen to del Toro. Surprising
and beautiful ghost story [that] understands
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that most ghosts are sad, and are attempting
are inherently political. As del Toro told Time
not to frighten us but to urgently communicate
magazine in 2011, “Much like fairy tales, there
something that must be known so that they can
are two facets of horror. One is pro-i nstitution .
rest.” Significant, too, that the ghostly presence
. . the other is completely anarchic and anti-
is here seen through what appears to be a veil
establishment.” Opening with the question
of tears, echoing the watery motif that ripples
“What is a ghost?” The Devil’s Backbone equates
throughout the movie, a nod perhaps to the
the legacy of history with the mythology of the
traditions of the Japanese kaidan-eiga (ghost story
living dead, providing a powerful metaphor for
film), along with the masklike white face of Santi,
the way in which the past informs the present,
which evokes the ghost of Noh theater.
and therefore shapes the future. Within this paradigm, a ghost may be “a tragedy doomed
The critic J. Hoberman has astutely described
to repeat itself time and again . . . An instant of
The Devil’s Backbone as “an experiment in
pain, perhaps. Something dead which still seems
antifascist supernaturalism,” a phrase that neatly
to be alive.”
encapsulates the recurrent themes that haunt del Toro’s work: the ghosts of history, the freedom of
At the time of its release, many critics compared
fantasy, the imperative of choice, the relationship
The Devil’s Backbone to Alejandro Amenábar’s
between the “real” and the “imagined.” At its
more widely seen war-inflected ghost story The
heart lies the conviction that horror and fantasy
Others (2001), although by the time del Toro was “presenting” J. A. Bayona’s The Orphanage several years later, it had become clear that The
This has always been a key to del Toro’s work— the triumph of sympathy and melancholia over terror.
Devil’s Backbone was the more influential work. This willingness to confront pain and to forge his own cinematic dictionary has informed the blend of innocence and brutality that is a trademark of del Toro’s phantasmagorical cinema. From the crushing addictions of Cronos, whose aging antihero is reduced to licking blood from the tiled floor of a public toilet, to the redemptive fantasy of Hellboy, whose titular demon takes an industrial grinder to the horns of his head in a bid to take control of his destiny, del Toro has returned compulsively to these twinned themes. In the case of The Devil’s Backbone, it is the pain and tragedy of the Spanish Civil War that underwrite both the sense of horror and the spirit of defiance that ring throughout the movie. It is a film about repression that celebrates, albeit in heartbreaking fashion, the irrepressibility of the innocent human spirit.
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AWA R D S
ACADEMY OF SCIENCE FICTION,
A L M A AWA R D S
F A N TA S Y A N D H O R R O R F I L M S
2002
2002
Best Horror Film (Saturn Award)
Outstanding Foriegn Film
Guillermo del Toro (nominated)
Guillermo del Toro Agustin Almodรณvar
A M S T E R D A M F A N TA S T I C F I L M
CINร NYGMA: LUXEMBOURG
F E S T I VA L 2 0 0 2
I N T E R N AT I O N A L F I L M F E S T I VA L 2002
Grand Prize of European Fantasy film in Silver
Grand Prize of European Fantasy film in Gold
Guillermo del Toro
Guillermo del Toro
F O T O G R A M A S D E P L ATA 2002
Best Movie Actor Eduardo Noriega
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This film marks as one the purest forms of del Toro’s vision for monsters in the innocent world. It has had it fair share of exemplary reviews and nominations, few notable awards to its girth.
G O YA AWA R D S
G É R A R D M E R F I L M F E S T I VA L
2002
2002
Best Costume Design
International Critics Award. Special Jury Prize,
José Vico
and Youth Jury Grand Prize Guillermo del Toro
Best Special Effects David Martí Montse Ribé
Y O U N G A R T I S T AWA R D S
Reyes Abades
2002
Emilio Ruiz del Río Carmen Aguirre Best Young Actor in an International Film Fernando Tielve
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What makes a man a man? Is it his origins? The way he comes to life? I don’t think so. It’s the choices he makes— not how he starts things, but how he decides to end them. 34
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2 0 0 4
HE L L BO Y
R AT E D “ P G -1 3 ”
A demon, raised from infancy after being conjured by and rescued from the Nazis, grows up to become a defender
A C T I O N / FA N TA S Y / H O R RO R
against the forces of darkness.
ENGLISH
RON PERLM AN, DOUG JONES, SELMA BLAIR, JOHN HURT
S C R E E N P L AY / S T O R Y
GUILLERMO DEL TORO
CINE M AT OGR APH Y
G U I L L E R M O N AVA R R O
MUSIC
M A R C O B E LT R A M I
EDITING
PETER AMUNDSON
2 APRIL 2004
RUNS 122 MINUTES
SUMMARY DTS | DOLBY DIGITA L | SDDS
When the Nazis attempt to use black magic during the last days of World War II, a monkey like demon is thrown into the real world.
1.85 : 1
Professor Trevor Bruttenholm discovers the creature and rescues it from any danger. The creature grows up and goes by the name of
PR AGUE, CZECH REPUBLIC
Hellboy. Joining the Allied forces, Hellboy eventually
35 MM (KODAK V ISION2 200T
grows to adulthood, serving the cause of good
5 217, V I S I O N 2 5 0 0 T 5 21 8 ,
rather than evil. Working in secrecy, Hellboy
VISION 250D 5246)
works to rid any supernatural threat. When some familiar faces from the past appear, it’s going to take more than Hellboy to stop them.
35 MM (KODA K V ISION 2383)
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CAST
CREW
Ron Perlman
Hellboy
John Hurt
Trevor “Broom”
Bruttenholm
Selma Blair
Liz Sherman
Rupert Evans
John Myers
Karel Roden
Grigori Rasputin
Jeffrey Tambor
Tom Manning
Doug Jones
Abe Sapien
Brian Steele
Sammael
Ladislav Beran
Karl Ruprecht Kroenen
Biddy Hodson
Ilsa Haupstein
Corey Johnson
Agent Clay
Jim Howick
Cpl. Matlin
Angus MacInnes
Sgt. Whitman
PRODUCTION
Lawrence Gordon Lloyd Levin Mike Mignola Patrick J. Palmer Mike Richardson
WRIT TEN BY
Guillermo del Toro Mike Mignola Peter Briggs
CASTING
Jeremy Zimmermann
PRODUCTION DESIGN
Stephen Scott
SE T DECOR AT ION
Hilton Rosemarin Simon Wakefield
ART DIRECTION
Marco Bittner Rosser Peter Francis James Hambidge Simon Lamont
COSTUME DESIGN
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Wendy Partridge
L OC AT IONS
MPA A R AT ING
Barrandov Studios, Prague, Czech
Sex & Nudity : 1/10
Republic Violence & Gore: 7/10 National Monument, U Památníku 1900, Vitkov Hill, Czech Republic
Profanity 5/10 Alcohol/ Drugs / Smoking: 1/10 Fright / Intense Scenes: 8/10
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A p r i l
2 0 0 5
YES, HE’S THAT R ASPUTIN
S UP E R HE R O F R OM T HE V IL L A IN’S L A IR Roger Ebert
The movie, based on comics by Mike Mignola and directed by the Mexican-born horror master Guillermo del Toro (“Cronos,” “Blade II”), opens with a scene involving Nazis, those most durable of comic book villains. In a desperate scheme late in World War II, they open a portal to the dark side and summon forth the Seven Gods of Chaos—or almost do, before they are thwarted by U.S. soldiers and Prof. Bruttenholm (John Hurt), who is President Roosevelt’s personal psychic adviser. Nothing slips through the portal except a little red baby with horns and a tail; he spits and hisses at the professor, who calms him with a Baby Ruth bar, cradles him in his arms and raises him to become mankind’s chief warrior against the forces of hell. Meanwhile, the psychic practitioner Grigori “Hellboy” is one of those rare movies that’s not
Rasputin (Karel Roden), who is working for
only based on a comic book, but also feels like
the Nazis, is sucked through the portal and
a comic book. It’s vibrating with energy, and
disappears. Yes, he’s that Rasputin.
you can sense the zeal and joy in its making. Of course it’s constructed of nonstop special
We flash forward to the present. The professor,
effects, bizarre makeup and a preposterous
now in his 80s, is told he will die soon. Two
story line, but it carries that baggage lightly;
of his old enemies are inexplicably still the
unlike some CGI movies that lumber from
same age, however: a Nazi named Ilsa (Bridget
one set piece to another, this one skips
Hodson) and a weirdo named Kroenen
lightheartedly through the action.
(Ladislav Beran), who is addicted to surgical modifications on his body. In an icy pass in
And in Ron Perlman, it has found an actor who
Mondavia, they perform ceremonies to bring
is not just playing a superhero, but enjoying
Rasputin back from the other side, and they’re
it; although he no doubt had to endure hours
ready to rumble.
in makeup every day, he chomps his cigar,
38
twitches his tail and battles his demons with
Cut to a secret FBI headquarters where
something approaching glee. You can see an
Hellboy lives with the professor and an aquatic
actor in the process of making an impossible
creature named Abe Sapien (Doug Jones) -- a
character really work.
fishboy who got his name because he was born
OU T OF T H E DA R K N E S S F I L M F E S T I VA L
Hellboy’s life is a lonely one. When you are 7 feet tall and bright red with a tail, you don’t exactly fit in, even though he tries to make himself look more normal by sawing his horns down to stumps
the day Abraham Lincoln was assassinated. The professor is showing the ropes to young FBI agent Clay (Corey Johnson) when the Nazis attack a museum and liberate a creature imprisoned inside an ancient statue. This creature, a writhing, repellent, oozing mass of tentacles and teeth, reproduces by dividing and will soon conquer the Earth unless Hellboy can come to the rescue. Which he does, of course, in action sequences that seem storyboarded straight off the pages of a comic book. Hellboy gets banged up a lot but is somehow able to pick himself up off the mat and repair himself with a little self-applied chiropractic; a crunch of his spine, a pop of his shoulders and he’s back in action. Abe the fishboy, who wears a breathing apparatus out of the water, is more of a dreamer than a fighter, with a personality that makes him a distant relative of Jar-Jar Binks. Hellboy’s life is a lonely one. When you are 7 feet tall and bright red with a tail, you don’t exactly fit in, even though HB tries to make himself look more normal by sawing his horns down to stumps, which he sands every morning. He is in love with another paranormal, Liz Sherman (Selma Blair), a pyrokineticist who feels guilty because she starts fires when she gets excited. There is a terrific scene where Hellboy kisses her and she bursts into flames, and we realize they were made for each other because Hellboy, of course, is fireproof. The FBI, which is occasionally accused of not sharing its information with other agencies, keeps Hellboy as its own deep secret; that droll actor
39
Jeffrey Tambor plays the FBI chief, a bureaucrat who is just not cut out for battling the hounds of hell. He has some funny set-up scenes, and indeed the movie is best when it’s establishing all of these characters and before it descends to its apocalyptic battles. Hellboy battles the monsters in subway tunnels and subterranean caverns, as Liz, Clay and Abe the fishboy tag along. I know, of course, that one must accept the action in a movie like this on faith, but there was one transition I was utterly unable to follow. Liz has saved them all from the monsters by filling a cave with fire, which shrivels them and their eggs into crispy s’mores, and then—well, the movie cuts directly to another cave in which they are held captive by the evil Nazis, and Hellboy is immobilized in gigantic custom-made stocks that has an extralarge hole for his oversized left hand. How did that happen? Never mind. Doesn’t matter. Despite his sheltered upbringing, Hellboy has somehow obtained the tough-talking personality of a Brooklyn stevedore, but he has a tender side, not only for Liz but for cats and kittens. He has one scene with the FBI director that reminded me of the moment when Frankenstein enjoys a cigar with the blind man. He always lights his stogies with a lighter, and Tambor explains that cigars must always be ignited with a wooden match. That’s good to know when Liz isn’t around.
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AWA R D S
ACADEMY OF SCIENCE FICTION,
F A N G O R I A C H A I N S AW AWA R D S
F A N TA S Y A N D H O R R O R F I L M S
2005
2005
Best Make Up
Best Make Up/Creature FX
Jake Garber
Chad Waters
Matt Rose
Matt Rose
Mike Elizalde
Mike Elizalde
Best Supporting Actress (2nd place)
B R A M S T O K E R AWA R D S 2005
Selma Blair
Best Score (2nd place) Marco Beltrami
Screenplay (nominated) Guillermo del Toro
Best Actor (3rd place) Ron Perlman
Best Supporting Actor (3rd place) John Hurt
Best Screenplay (3rd place) Guillermo del Toro
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This movie was unlike pretty much another superhero movie out there. If you hadn’t noticed, it is a fantastic comic book franchise, too.
G O L D E N S C H M O E S AWA R D S
I M A G E N F O U N D AT I O N AWA R D S
2004
2004
Best Sci-Fi Movie of the Year (2nd place)
Best Director : Feature Film
Guillermo del Toro
Guillermo del Toro
Mike Mignola
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A long time ago, in the underground realm, where there are no lies or pain, there lived a Princess who dreamed of the human world. She dreamed of blue skies, soft breeze, and sunshine. 46
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2 0 0 6
PA N ’ S L A B Y R IN T H
R ATED “R”
In the falangist Spain of 1944, the bookish young stepdaughter of a sadistic army officer escapes into an
FA N TA S Y / D R A M A / WA R
eerie but captivating fantasy world.
S PA N I S H / E N G L I S H SUBTITLES
I VA N A B A C Q U E R O , S E R G I LÓPEZ, DOUG JONES
S C R E E N P L AY / S T O R Y
GUILLERMO DEL TORO
CINE M AT OGR APH Y
G U I L L E R M O N AVA R R O
MUSIC
J AV I E R N AVA R E T T E
EDITING
BERNAT VIL APL ANA
27 M AY 20 0 6
118 M I N U T E S
DTS | DOLBY DIGITA L |
SUMMARY
SDDS
Also known as El Laberinto del Fauno 1.85 : 1
Set in the times of the Spanish Civil War, this is the story of a young girl named Ofelia. She is IMAGE FILM S.A., B A R C E L O N A , S PA I N
a girl who has a passion for fairy tales, which causes her to see one during her trip to a forest that is not quiet. Left to her own devices, Ofelia
35 MM (KODAK VISION2 2 0 0 T 5217, V I S ION 2 5 0 0 T 5218, V ISION 250D 5246)
creates an imaginary world of her own to escape the cruel and harsh realities of the world. When she encounters a faun named Pan in this other world, she must complete three tasks in order to
35 MM | D-CINEMA
obtain immortality according to the legend of a long lost fairy princess.
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CAST
CREW
Ivana Baquero Ofelia
PRODUCTION
Victor Albarran Belen Atienza
Sergi López Vidal
Alvaro Augustin Alfonso Cuaron
Maribel Verdú Mercedes
Guillermo del Toro Bertha Navarro
Doug Jones
Fauno / Pale Man
Frida Torresblanco David Ebner
Ariadna Gil Carmen
Edmundo Gil Elena Manrique
Álex Angulo
Doctor Ferreiro S C R E E N P L AY
Guillermo del toro
STORY
Guillermo del toro
CINE M AT OGR APH Y
Guillermo Navarro
MUSIC
Javier Navarette
EDITING
Bernat vilaplana
PRODUCTION DESIGN
Eugenio Caballero
SE T DECOR AT ION
Pilar Revuelta
COSTUME DESIGN
Lala Huete
CASTING
Sara Bilbatua
Manolo Solo Garcés César Vea Serrano Roger Casamajor Pedro Ivan Massagué
El Tarta
Gonzalo Uriarte Francés Eusebio Lázaro Padre Francisco Vidal
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Francisco Vidal
DA R K N E S S
L OC AT IONS
MPA A R AT ING
Belchite, Zaragoza, Aragon, Spain
Sex & Nudity : 2/10
Segovia, Castilla y Leon, Spain
Violence & Gore: 9/10
Sierra de Guadarrama mountain
Profanity 6/10
range, Madrid, Spain Alcohol/ Drugs / Smoking: 5/10 Fright / Intense Scenes: 8/10
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A u g u s t
2 5 ,
2 0 0 7
EMBR ACING THE DARKNESS, SORROW AND BRUTALIT Y OF PAN’S L ABYRINTH
A S P INE - C HIL L ING FA IR Y TA L E Multipe Authors
Del Toro intended Pan’s Labyrinth to be a
Del Toro said. “He represents fascism and the
thematic complement to The Devil’s Backbone,
church eating the children when they have a
his 2001 film set in Spain in 1939. The movies
perversely abundant banquet in front of them.”
have a lot of similarities in their structure and setup, but del Toro says on the Pan’s Labyrinth
The director has also reiterated many times
DVD commentary that the events of September
that while a story can mean different things
11, 2001—which occurred five months after The
to different people, “objectively, the way I
Devil’s Backbone opened in Spain, and two
structured it, there are clues that tell you ...
months before it opened in the U.S.—changed
that it’s real.” Specifically: the flower blooming
his perspective. “The world changed,” del Toro
on the dead tree at the end; the chalk ending
said. “Everything I had to say about brutality
up on Vidal’s desk (as there’s no way it could
and innocence changed.”
have gotten there); and Ofelia’s escape through a dead end of the labyrinth. Pan’s Labyrinth
Del Toro told an interviewer that he was
is one of the greatest of all fantasy films, even
appalled by the Catholic church’s complicity
though it is anchored On
with fascism during the Spanish Civil War. He said the priest’s comment at the banquet table,
There is this initial turmoil of emotions when
regarding the dead rebels—”God has already
the movie progresses, but Pan’s Labyrinth is
saved their souls; what happens to their bodies,
one of those stories you can’t look away from
well, it hardly matters to him”—was taken from
until it’s over, no matter what.
a real speech that a priest used to give to rebel prisoners in the fascist camps. Furthermore, “the Pale Man represents the church for me,”
The fauns and fantasies are seen only by the 11-year-old heroine, but that does not mean she’s “only dreaming;” they are as real as the fascist captain who murders on the flimsiest excuse. The coexistence of these two worlds is one of the scariest elements of the film; they both impose sets of rules that can get an 11-year-old killed.
R O G E R E B E R T, C R I T I C “Pan’s Labyrinth” (2006) took shape in the imagination of Guillermo del Toro as long ago as 1993, when he began to sketch ideas and images in the notebooks he always carries. The Mexican director responded strongly to the horror lurking under the surface of classic fairy tales and had no interest in making a children’s film, but instead a film that looked
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OU T OF T H E DA R K N E S S F I L M F E S T I VA L
horror straight in the eye. He also rejected all the hackneyed ideas for the creatures of movie fantasy and created (with his Oscarwinning cinematographer, art director and makeup people) a faun, a frog and a horrible Pale Man whose skin hangs in folds from his unwholesome body. The time is 1944 in Spain. Bands of anti-Franco
an empty frog skin behind. Meanwhile, Vidal
fighters hide in the forest, encouraged by news
plays records on his phonograph, smokes,
of the Normandy landings and other setbacks
drinks, shaves as if tempting himself to slash
for Franco’s friends Hitler and Mussolini. A
his throat, speaks harshly to his wife, threatens
troop of Franco’s soldiers is sent to the remote
the doctor and shoots people.
district to hunt down the rebels, and is led by Capitan Vidal (Sergi Lopez), a sadist under
Del Toro moves between many of these scenes
cover as a rigid military man.
with a moving foreground wipe: an area of darkness, or a wall or a tree that wipes out the
Ofelia encounters a strange insect looking like a
military and wipes in the labyrinth, or vice
praying mantis. It shudders in and out of frame,
versa. This technique insists that his two worlds
and we’re reminded of Del Toro’s affection for
are not intercut, but live in edges of the same
odd little creatures (as in “Cronos,” with its
frame. He portrays most of the mill interiors in
deep-biting immortality bug). The faun seems to
a cold blue-grey slate, but introduces life tones
be both good and evil; what are we to make of a
into the faces of characters we favor, and into
huge pile of used shoes, especially worrisome in
the fantasy world. It is no coincidence that the
the time of the Holocaust? But what he actually
bombs of the rebels introduce red and yellow
offers is not good or evil, but the choice between
explosions into the monotone world they attack.
them, and Del Toro says in a commentary that Ofelia is “a girl who needs to disobey anything
What makes Del Toro’s “Pan’s Labyrinth” so
except her own soul.” The whole movie, he says,
powerful, I think, is that it brings together two
is about choices.
kinds of material, obviously not compatible, and insists on playing true to both, right to the end.
The film is visually stunning. The creatures
Because there is no compromise there is no
do not look like movie creations but like
escape route, and the dangers in each world are
nightmares (especially the Pale Man, with
always present in the other.
eyes in the palms of his hands). The baroque organic look of the faun’s lair is unlike any
Del Toro talks of the “rule of three” in fables
place I have seen in the movies. When the giant
(three doors, three rules, three fairies, three
frog delivers up a crucial key in its stomach, it
thrones). I am not sure three viewings of this
does so by regurgitating its entire body, leaving
film would be enough, however.
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MIKE PERSCHON, MOVIE BUFF I’ve met a number of people who cannot imagine someone subjecting themselves to an encore viewing, let alone so many they lose count. These viewers dislike Pan’s Labyrinth for its darkness, for the sorrow and tragedy of its ending. They find the brutality of Captain Vidal abhorrent (and well they should). Like Stephen King, they are terrified by the Pale Man. For many, the film’s darkness overshadows the light; consequently, viewers are often repulsed by it. I love Pan’s Labyrinth for its darkness, sorrow, and brutality. Without those harsh elements the film would be a milquetoast modern fairytale, as tame as The Lady in the Water: a tale of wideeyed wonder without the wolf. Fairy tales are often stripped of their darkest and most threatening elements, or transformed into complex morality tales to mirror current values, the victim of an overprotective industry of children’s literature. This is not a new development. To make fairy tales more suitable for young audiences, editors in Victorian England altered the tales, omitting events or elements they deemed too harsh. While many children’s fairy tale collections include a version of Little Red Riding Hood in which the huntsman comes to the rescue before the wolf attacks, the Brothers Grimm’s tale of Little Red Cap describes the “dear little girl whom everyone loved” being “gobbled up” quite suddenly. The wolf eventually meets his demise following an abrupt caesarean section rescue, compounded by a lethal case of massive gall stones courtesy of Little Red Cap, while in another version, Little Red Cap baits the wolf into drowning. In some modern versions of Little Red Riding Hood, the wolf’s violent demise is replaced by a hasty getaway. Patricia Richards, in an article titled “Don’t Let a Good Scare Frighten You: Choosing and Using Quality Chillers to Promote Reading,” notes that the alteration
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Captain Vidal is Del Toro’s gender reversal of the wicked step mother.
Vidal is the giant toad, who has entered the tree out of lustful appetites, slowly killing the tree through its “insatiable appetite” for the pill bugs within. Vidal is a subtle Bluebeard—while he does not actively cannibalize Ofelia’s mother, his obsession with a male progeny is effectively her undoing. The tree was once a shelter for the magical creatures of the forest, as Ofelia’s mother once was shelter for her. Ofelia’s tasks can be seen both as trials to secure her return to her Faerie kingdom, as well as reflections of the harsh realities she experiences. Captain Vidal is Del Toro’s gender reversal of the wicked step mother. Marina Warner notes that in many traditional fairy tales “the good mother dies at the beginning of the story” only
of the wolf’s fate from execution to evasion is
to be “supplanted by a monster.” Here, the
perceived as “less violent and less frightening,
good father is dead, leaving the beast father to
but children found it scarier because the threat
fill the void. From his first moment onscreen
of the wolf remains unresolved.” Rather than
Vidal expresses an authoritarian patriarchal
finding gory or horrific details of devoured
presence, exuding a classic machismo partnered
heroes or drowned villains terrifying, children
with the harsh male violence expressed with
reported they found “stories with no endings as
multiple visual cues: his immaculate fascist
frightening.
military uniform and a damaged pocket watch, allegedly rescued from the field of battle where
If ambiguity over the demise of the villain is
Vidal’s dying father smashed it, so his son would
maintained, then a sense of horror remains.
know the hour of his violent death in combat;
This is a standard trope of the horror movie,
Vidal tells his officers that to die in battle is
utilized for the utilitarian possibility of the
the only real way for a man to die, as he storms
money-making sequel, but artistically for
confidently into a hail of rebel bullets. His
a sense of lingering dread. As a director,
blind confidence that his unborn child is a son
Guillermo Del Toro is well suited to dealing with
bespeaks his utter patriarchy: when the local
horror in his fairy tale; his filmography prior to
doctor asks how Vidal can be so certain that
Pan’s Labyrinth, without exception, depicts a
the unborn child is a boy, Vidal places a ban on
struggle between good and evil, from the subtle
further discussion or inquiry by replying, “Don’t
and nuanced Devil’s Backbone to the comic book
f**k with me.”
morality of Hellboy, to the monstrous villains of Cronos, Blade II, and Mimic.
Vidal’s external brutality proves to be the
The connection between the Tree and Ofelia’s
either the Monstrous Toad or Pale Man could
mother is overt, and intentional, on Del Toro’s
conjure. Friends avoided seeing the movie
most horrific in the film, eclipsing any terror
part. These images are symbolic markers for the
based only on descriptions of Vidal bashing in
sexual union between Ofelia’s mother and Vidal.
a peasant’s face with a bottle, or performing
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torture on a captured rebel, (This second
would lose their significance: her rebellious
atrocity is performed offscreen; the audience
spirit would be nothing more than adolescent
only sees the result of Vidal’s labors). “You
acting-out, a temper tantrum rendered fantastic.
can either make it spectacle or dramatic,” says
However, it is the double-resistance of both
Del Toro in the director’s commentary. In
Ofelia and the rebels in the hills that provide
film, a cut on the cheek or on the temple has
the thematic thrust of Pan’s Labyrinth, the
become commonplace enough that it doesn’t
resistance of Fascism in all its forms. Discussion
even register for the average filmgoer. The
of this film often centers on whether or not
mutilation of Vidal’s face by Mercedes, the
Ofelia’s quests into the realm of Faerie are real.
rebel-sympathizing housekeeper and surrogate
Those who conclude she has imagined them
caretaker of Ofelia, is the sort of violence
conclude her victory is an empty, illusory one.
that “immediately elicits a reaction.” Del Toro deliberately designed the hyperbolic violence of
This misses the point entirely.
Pan’s Labyrinth to be “off-putting, rather than spectacular … very harrowing … designed to
Real or imagined, Vidal and his avatars
have an emotional impact.”
are symbols of Fascism, of unrestrained oppression. Ofelia and the rebels in the
The only time Del Toro utilizes violence for
hills exist to resist. In the smallest action of
spectacle is in the scene where the Captain
refusing to call Vidal her father, to the life-
sews his mutilated cheek back together. The
risking act of kidnapping her infant brother,
camera never turns away from the spectacle of
Ofelia displays a refusal to be cowed in the
the Captain driving in the needle and pulling
face of monstrous evil. This is what Del Toro is
it through, over and over, to illustrate how
concerned with, and it is why his villains are
relentless a monster Vidal is: like the Big Bad
so monstrous.
Wolf (or the Terminator) he will not stop until In the world of Pan’s Labyrinth, disobedience
he is killed.
is a virtue: when Vidal learns of the Doctor’s If the Big Bad Wolf must die to make the horror
betrayal, he is confounded, unable to
a fairy tale, so too must Captain Vidal. While the
understand the Doctor’s action. After all, he
Captain is an imposing onscreen threat, there
is the monstrous Vidal. The Doctor knows
is no question as to the ultimate outcome. The
this man’s reputation—he must realize the
villain cannot simply die, for the violence must
consequence of his action. And yet, he calmly
be hyperbolic: the monstrous toad explodes; the
replies, “But Captain, to obey – just like that –
Pale Man is left to starve in his lair. Mercedes’
for obedience’s sake… without questioning…
reply to Vidal’s request that his son be told the
That’s something only people like you do.” And
time and place of his death is, “He will never
to disobey, to resist the monster, is something
even know your name.” At the end, the Captain
only people like Ofelia, Mercedes, and the
is not merely killed; he is obliterated. Vidal
rebels do. To have them defy anything but a
and his avatars receive their “just reward,” as
true monster would cheapen their resistance.
dictated by the tradition of the fairy tale.
And this is why, despite the difficulty in witnessing the darkness, the sorrow, and the
54
To have toned down Vidal and his monstrous
brutality of Pan’s Labyrinth, I would never
twins would be to tone down the layers of
trade the Big Bad Wolf of Captain Vidal for the
menace. Real or imagined, Ofelia’s actions
toothless lawn-dogs of Lady in the Water.
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AWA R D S
A C A D E M Y AWA R D S
B A F TA
2007
2007
Best Achievement in Cinematography
Best Film not in the English Language
Guillermo Navarro
Alfonso Cuarón Bertha Navarro
Best Achievement in Art Direction
Frida Torresblanco
Eugenio Caballero (art director)
Guillermo del Toro
Pilar Revuelta (set decorator) Best Costume Design Best Achievement in Makeup
Lala Huete
David Martí Montse Ribé
Best Make Up & Hair José Quetglás Blanca Sánchez
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This movie won over 97 awards and garnered over 99 nominations. The awards won includes 3 Oscars, 3 BAFTAs, and about every category of award for fantasy, story and make-up
A R I E L AWA R D S ( M E X I C O )
ACADEMY OF SCIENCE FICTION,
2007
F A N TA S Y & H O R R O R F I L M S 2007
Best Direction (Mejor Dirección)
Best International Film
Guillermo del Toro Best Performance by a Younger Actor Best Actress (Mejor Actriz)
Ivana Baquero
Maribel Verdú
Best Cinematography (Mejor Fotografía) Guillermo Navarro
Best Original Score (Mejor Música Compuesta para Cine) Javier Navarrete
Best Art Direction (Mejor Diseño de Arte) Eugenio Caballero Ramón Moya Pilar Revuelta
Best Costume Design (Mejor Vestuario) Lala Huete
Best Make-Up (Mejor Maquillaje) José Quetglás Blanca Sánchez
Best Special Effects (Mejor Efectos Especiales) Reyes Abades Ángel Alonso David Martí Montse Ribé
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It is said that at the dawn of time, man, beast, and all magical beings lived together under Aeglin, the Father Tree. But man had been created with a hole in his heart, a hole that no possession, power, or knowledge could fill. 60
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R ATED “R”
An Elven prince rises out of self-exile to steal a powerful crown to unleash a formidable army against humankind.
FA N TA S Y / D R A M A / WA R
The only thing in his way: a good demon.
ENGLISH
RON PERLM AN, DOUG JONES, SELMA BLAIR, JOHN HURT
S C R E E N P L AY / S T O R Y
GUILLERMO DEL TORO
CINE M AT OGR APH Y
G U I L L E R M O N AVA R R O
MUSIC
DANNY ELFMAN
EDITING
BERNAT VIL APL ANA
11 J U LY, 2 0 0 8
RUNS 120 MINUTES
SUMMARY In this continuation to the adventure of the
DTS | DOLBY DIGITA L |
demon superhero, an evil elf heir breaks an
SDDS
ancient pact between humans and creatures, as he declares war against humanity. Prince Nuada is on a mission to release The Golden
1.85 : 1
Army, a deadly group of fighting machines that can destroy the human race, not even hesitating to kill his own race and father in the pursuit of
D E LU X E , H O L LY W O O D
being all-powerful in his course.
(CA), USA
As Hell on Earth is ready to erupt, Hellboy and his crew set out to defeat the elf prince before 35 MM (KODAK V ISION2
The Golden Army can destroy humanity’s
2 0 0 T 5 217, V I S I O N 2 5 0 0 T
existence, overcoming hurdles of love, loyalty
5218, V ISION 250D 5246)
and destiny. every step of the way.
35 MM (KODAK V ISION 2383)
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CAST
CREW
Ron Perlman
Hellboy
Selma Blair
Liz Sherman
Doug Jones
Abe Sapien / Angel of
Mike Richardson
Death
John Swallow
PRODUCTION
Lawrence Gordon Lloyd Levin Mike Mignola
Chris Symes Seth MacFarlane
Johann Krauss
Luke Goss
Prince Nuada
Anna Walton
Princess Nuala
Jeffrey Tambor
Tom Manning
John Hurt
Trevor “Broom”
Brian Steele
Wink / Cronie / Troll
Roy Dotrice
King Balor
Andrew Hefler
Agent Flint
Iván Kamarás
Agent Steel
Mike Kelly
Agent Marble
Montse Ribé
Young Hellboy
WRIT TEN BY
Guillermo del toro Mike Mignola
CASTING
Jeremy Zimmermann Zsolt Csutak
PRODUCTION DESIGN
Stephen Scott
SE T DECOR AT ION
Elli Griff Zsuzsa Mihalek
ART DIRECTION
Anthony Caron-Delion Peter Francis John Frankish Paul Laugier Csaba Stork Mark Swain Judit Varga
COSTUME DESIGN
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Sammy Sheldon
L OC AT IONS
MPA A R AT ING
Sóskút, Pest, Budapest, Hungary
Violence & Gore: 5/10
Giant’s Causeway, County Antrim,
Profanity: 6/10
Northern Ireland, UK Alcohol/ Drugs / Smoking: 4/10 London, England, UK Fright / Intense Scenes: 8/10 Korda Studios, Etyek, Hungary
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J u l y
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2 0 0 8
HELLBOY RETURNS TO FIGHT FOR MANKIND, BUT THE LINES AREN’T AS CLEAR ANYMORE
S P IR I T U A L I T Y T HR OUGH N A R R AT I V E Ted Pigeon, Slant Magazine
Demon. Born from a womb
While a number of critics are positioning
of shadows, sent to destroy
Hellboy II: The Golden Army in relation to
their world, and you still
director Guillermo del Toro’s forthcoming
believe you belong?
venture into Middle-earth (the director was involved in directing the Hobbit movies at
—Prince Nuada, Hellboy II: The Golden Army
this point), the film sits more comfortably as a companion piece to the director’s last film, Pan’s Labyrinth. The 2006 Oscar-winner was not just formally beautiful, but resonated with deeply realized themes of spirituality
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and the necessity of storytelling. Structurally
of color and movement is the same
and aesthetically, del Toro rendered two
commitment to narrative that ran through
worlds—fascist Spain and a magical fairy
Pan’s Labyrinth. You may not be overwhelmed
world—that couldn’t thrive, grow, or exist
by the thinly drawn Shakespearean character
without the other. He carefully denied the
dynamics or the predictably action-heavy
viewer the pleasure of escaping into myth or
denouement, but this movie is about the
narrative, while also establishing a disjointed “reality,” with persistent intrusions of the
moments in between—the simple, seamless unfolding of narrative energy.
fantastic. This was precisely his purpose: to illustrate that these two worlds are mutually
The film begins similarly to Pan’s Labyrinth,
constitutive and inseparable from one another.
with Professor Broom (John Hurt) reading
By contrast, Hellboy II more outwardly revels
(visualized in silhouettes and weightless
to young Hellboy about a long ago world in its fantasy. It serves up a delicious menu of
figures) filled with elves, trolls, and monsters
goblins, trolls, armies, and angels of death, all
whose tense relationship with humans tees up
brought to life with unparalleled vision. But
both the backstory and the conflict for the film.
even though del Toro is steadfastly focused
The fairy tale creatures and humans settled
on populating his world (which he established
their differences with a truce that would
in Hellboy II’s 2004 predecessor) with as
ensure that humans remain in cities, while
many odd creatures as his mind can dream up,
elves and other like creatures dwell in the
evident also in the film’s swirling compositions
forests. But humans would eventually falter on
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their end of the deal, compelling Prince Nuada (Luke Goss) to return from exile to seize control of the Golden Army. Cut to present-day New York where Nuada and his ill-tempered brute of a minion, Mr. Wink, begin their crusade to reclaim the King’s crown and wage war on humankind. These opening sequences have a sense of mystery and fear about them that, unfortunately, isn’t sustained throughout the film. Here we are granted a glimpse into del Toro’s twisted imagination. His first batch of goodies: Tooth fairies. “It’s kind of cute, actually,” one of the expendable BPRD agents [that’s Bureau for Paranormal Research and Defense, in case you’re wondering] notes before being devoured alive by a swarm of these creatures. But this is just overture to the symphony of weird slimy beasts Hellboy II will introduce. These visions are interspersed throughout the expository first hour of the film, in which del Toro finely balances character, story set-up, and weird distractions. At Headquarters, Hellboy (Ron Perlman) and Liz Sherman (Selma Blair), now living together, bicker constantly, while “fishstick”
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Although the film depicts surprisingly
Abe Sapien (Doug Jones) tries to mediate.
few humans, del Toro frames humans as
Meanwhile, Agent Manning (Jeffrey Tambor)
a central element in the conflict between
is still trying to keep Hellboy out of public
Hellboy and Prince Nuada, with one bent
sight, despite the big red guy’s craving for
on the destruction of humanity and the
attention and, more importantly, acceptance
other on saving it. (Guess which.) This is all
from the people he protects. These scenes are
standard comic book stuff, for sure, but the
mostly light, sometimes funny, and almost
film occasionally, even subtly hints at the
completely dependent on one having seen
disturbing truth that humanity not only cannot
the first film, which is somewhat refreshing,
be saved, but doesn’t want to be saved. Despite
actually. Del Toro intercuts these (re)
his desire, Hellboy feels little connection
introductions with Prince Nuada’s conquest
to those who he protects; he does not swing
to bring the human world to an end, fiercely
through crowded streets and pose in front
cutting down anyone standing in his way.
of the American flag like Spiderman, or hold
The contrast will undoubtedly not work for
up falling buildings with a smile on his face
some, but these scenes economically establish
like Superman. He does put his life on the
different tones, tensions, and characters that
line for the occasional kitten, though. And the
will eventually collide.
acceptance he craves from the people he works
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sprouts constellations of flowers and white petals, Hellboy realizes that his place among nature and humanity is more complicated than he knows. This scene is the emotional core of the movie and del Toro handles it with a delicate lyricism that is rarely seen in studio cinema. A.O. Scott observed that it has an aura similar to that of a Hayao Miyazaki film, which I take to mean that it locates the sublime in the most intangible, yet profoundly simple images.
The film comes down somewhat after this sequence, never recapturing the same sense of magic. Ultimately, the personal conflicts of the latter half of Hellboy II don’t exude the same energy, nor do they possess the same rhythm that assisted in establishing the film’s more abstract ideas and direct sensations. One could say that Hellboy II misses out on its opportunity to mold Luke Goss’ character into a villain for the ages, especially after the strong opening. Nevertheless, the performances are all excellent, and del Toro still has a few icky creatures up his sleeve to protect is short-lived, until he discovers
near the end—most notably an opportunistic
that he is not so different from the villains he routinely wards off from destroying the world. These themes coalesce midway through the film’s second act, beginning with a giant plant rampaging through the streets of Brooklyn and ending with an unexpectedly hard affective punch. “It’s the last of its kind,” Nuada tells Hellboy as the plant dies before him, a tragically beautiful interlude wherein, for the first time in his life, Hellboy becomes aware of the implications of his choices and his responsibility. He learns, much to his surprise, that there are sides to himself that he was previously unaware of, the kinds of ambiguous shadings that del Toro explored in Pan’s Labyrinth. As the plant shrivels up and
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little goblin dragging a wheelbarrow behind
does define the film, as well as the skill
him and a creepy angel of death whose many
and passion of its creator. In Guillermo
eyes gaze upon Hellboy and Liz from its wings.
del Toro’s worldview, storytelling is not
While the plotline of Liz’s hesitancy to tell
about structure, cohesion, or resolution, but
Hellboy that he is to be a father resonates
about the experience of being in a world, a
effectively enough, the sense of focus begins
place, a mind, and feeling it from the inside
to wane on Nuada’s plotline. It doesn’t help
out. It’s essentially about sensation and
that there are a variety of other subplots that
encountering magic in the everyday world,
must come together, including another love
where such things are often thought to have
thread; this one involving Abe. The sense of
no place. Del Toro believes that storytelling
urgency is also not present in the latter half,
is worth fighting for simply because it is the
and what little of it that there is feels artificial.
defining element of humanity. We may draw distinctions between reality and fantasy, but
While these aspects might seem to detract
del Toro wants to shatter that divide and revel
from the film, Hellboy II’s aesthetic wonders
in the pure experience and immediacy of
put me in too joyous a state to be all that
narrative.
dissatisfied. The film’s highlights aren’t limited to the incredible creature design, but
The elements of his narrative in Hellboy II
extend to its every frame and movement. Del
may not be real, or even deep for that matter,
Toro has a unique ability to create a sense
but del Toro allows them to fill the screen
of space, both in the larger notion of the
and the imagination, reminding that the
film’s “world,” and in its many locales. He
fantasy can become real as much as the real
manages the economy of each shot, conveying
can become fantasy. They bleed into each
necessary story and character details while
other and inform one another. It is in this
also creating a sense of place and atmosphere,
connection that del Toro’s envisioning of
and he does this in the most subtle of ways.
spirituality resides. His sensibilities toward
He assembles such a vivid palette of colors,
the spiritual come through not in the narrative
smoke, and structures, which is most evident
itself, but in his conviction in storytelling and
in the early troll market sequence. Here del
locating the sublime in the strange. Stories are
Toro exhibits his penchant for dreaming up
almost always born out of the same elements,
fantastic characters, but he also shows off his
but the ways in which those elements are
utter mastery with the camera. Moving up and
given life are infinite. In short, Guillermo del
down the crowded streets, through the smoke
Toro’s movies represent an exploration of the
and shadow, all the while immersed in an orgy
possibilities of narrative and the imagination,
of color, his camera (aided by the stunning
where visions both dark and hopeful will
cinematography by Guillermo Navarro) makes
flourish, simply, by the telling of a tale.
sense of it all economically and whimsically. It’s an absurdist’s dream that brings together the imaginative capacity of Terry Gilliam and the formal precision of Alfred Hitchcock. The troll market sequence doesn’t necessarily represent Hellboy II’s narrative stretch or thematic depth (or lack thereof), but it
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AWA R D S
ACADEMY OF SCIENCE FICTION,
F A N G O R I A C H A I N S AW AWA R D S
F A N TA S Y & H O R R O R F I L M S
2009
2009
Best Horror Film
Best Supporting Actor
Guillermo del Toro
Doug Jones
Best Actor Ron Perlman
Best Make Up / Creature FX Mike Elizalde David Marti Montse Ribe Cliff Wallace
Best Wide-Release Film
Best Screenplay (2nd place) Ron Perlman
Best Supporting Actress (2nd place) Anna Walton
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Ever considered a dream project as the one you grew up thinking you’d work on? This was del Toro’s continued fascination for unusual superheroes playing out on big screen, without care or concern if it would be a blockbuster; it had already done what it was supposed to, for him.
G O L D E N T R A I L E R AWA R D S
MOTION PICTURE SOUND EDITORS
2008
2009
Best Action (Nominated)
Golden Reel Award (Nominated)
Hellboy II: The Golden Army Trailer Best Sound Editing: Music in a Feature Film Shie Rozow
Best Sound Editing: Sound Effects, Foley, Dialogue and ADR Scott Martin Gershin Martín Hernández Tom Bellfort Robert Shoup (additional adr supervisor) Dave McMoyler (supervising foley editor) Christopher Barnett (sound designer) Bryan Bowen (sound designer) Sergio Diaz (lead dialogue editor) Naiki Rossell (dialogue editor) Paul Conway (adr editor) David Stanke (sound effects editor) Harry Barnes (foley editor) Dominique Devoucoux (foley editor) Nicolas Becker (foley artist) Peter Burgis (foley artist)
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There are things you can’t fight, acts of God. You see a hurricane coming, you have to get out of the way. But when you’re in a Jaeger, suddenly, you can fight the hurricane. You can win. 74
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2 0 1 3
PA C IF IC R IM
R AT E D “ P G -1 3 ”
As a war between humankind and monstrous sea creatures wages on, a former pilot and a trainee are paired up to
ACTION / A DV ENTURE / SCI-FI
drive a special weapon in a desperate effort to save the world from the apocalypse.
ENGLISH
CHARLIE HUNNAM, IDRIS ELBA, RINKO KIKUCHI
S C R E E N P L AY / S T O R Y
GUILLERMO DEL TORO
CINE M AT OGR APH Y
G U I L L E R M O N AVA R R O
MUSIC
R A M I N D J AWA D I
EDITING
PETER AMUNDSON, JOHN GILROY
1 2 J U LY, 2 01 3
RU NS 131 M I N U T E S
SUMMARY DOLBY DIGITA L | DATA SAT | SDDS |
When monstrous creatures, known as Kaiju,
DOLBY ATMOS | DOLBY SU R ROUN D
started rising from the sea, a war began that
7.1
would take millions of lives and consume humanity’s resources for years on end. To combat the giant Kaiju, a special type of weapon
1.85 : 1
was devised: massive robots, called Jaegers, which are controlled simultaneously by two pilots whose minds are locked in a neural bridge.
T E C H N I C O L O R , H O L LY W O O D (C A ), U S A WA R N E R B R O S . M O T I O N
But even the Jaegers are proving nearly
PICTURE IM AGING, BURBA NK (CA),
defenseless in the face of the relentless Kaiju.
USA
On the verge of defeat, the forces defending mankind have no choice but to turn to two unlikely heroes - a washed up former pilot and
35 M M (SPH ER IC A L) (KODA K
an untested trainee - who are teamed to drive a
V ISION 2383), 70 M M (HOR IZONTA L)
legendary but seemingly obsolete Jaeger from
( I M A X D M R B L O W-U P) ( D UA L -
the past. Together, they stand as mankind’s last
STR I P 3-D) (KODA K V ISION 2383),
hope against the mounting apocalypse.
D-CIN EM A (A LSO 3-D V ERSION )
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CAST
CREW
Charlie Hunnam
Raliegh Becket
Idris Elba
Stacker Pentecost
Rinko Kikuchi
Mako Mori
Charlie Day
Dr. Newton Geizler
Burn Gorman
Herman Gottlieb
Max Martini
Herc Hansen
Rob Kazinsky
Chuck Hansen
Clifton Collins Jr.
Ops Tendo Choi
Diego Klattenhoff
Yancy Becket
Ron Perlman
Hannibal Chau
Mana Ashida
Young Mako
Ellen McLain
Gipsy Danger AI
Robert Maillet
Lt. S. Kaidanovsky
Heather Doerksen
Lt. A. Kaidanovsky
PRODUCTION
Chen On Chu Guillermo del Toro Callum Greene Jon Jashni Mary Parent Jillian Share Thomas Tull
WRIT TEN BY
Guillermo del Toro Travis Beacham (story)
CASTING
Margery Simkin
PRODUCTION DESIGN
Andrew Neskoromny Carol Spier
SE T DECOR AT ION
Peter P. Nicolakakos
ART DIRECTION
Elinor Rose Galbraith Richard L. Johnson Andrew Li Sandi Tanaka
COSTUME DESIGN
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Kate Hawley
L OC AT IONS
MPA A R AT ING
Papenburger Meyer Shipyard, Lower
Sex & Nudity : 1/10
Saxony, Germany (Factory, where the Jaeger are built)
Violence & Gore: 6/10
Pinewood Toronto Studios, Port
Profanity: 4/10
Lands, Toronto, Ontario, Canada Alcohol/ Drugs / Smoking: 3/10 Fright / Intense Scenes: 6/10
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8 ,
2 0 1 3
GUIL L ERMO DEL TORO CRE ATES A SCI-FI UNIV ERSE YOU’L L WANT TO E XPLORE
E P IC , A MB I T IOU S A ND A C C E S S IB L E Todd Gilchrist, The Verge
Whether or not it sounds like damning the
Jaegers, robots of equivalent size that are
film with faint praise, the greatest virtue of
piloted by two people via a sort of mindmeld
Guillermo del Toro’s Pacific Rim may be that
called a “neural bridge.” The fraternal bond
you can always understand what’s happening,
between Raleigh Becket (Charlie Hunnam,
what the characters are doing, and why they
Sons of Anarchy) and his brother Yancy (Diego
are doing it. After what seems like years of
Klattenhoff) makes them the best monster
convoluted megamovies whose pretzel-like
killers in the Jaeger program — that is, until
twists, turns, and double-crosses confound
Yancy is killed in battle, prompting Raleigh’s
logic and confuse audiences, it’s incredibly
early retirement.
refreshing to watch a film where the setup is simple, the mythology straightforward, and the
Five years later, the Jaeger program lives on
execution consistently clear.
as a shadow of its former self: only a handful of the machines remain, and even fewer
Working on his biggest canvas to date, the
pilots. But when commanding officer Stacker
director of Hellboy and Pan’s Labyrinth
Pentecost (Idris Elba) turns up to re-enlist
introduces an entirely new world to audiences
Raleigh for a final all-out assault on the portal
with a robots-versus-monsters scenario that
in the hopes of saving humanity once and
includes the same sort of nerdy details and sci-
for all, the disillusioned soldier finds himself
fi jargon as its overcomplicated brethren, but
paired up with ambitious novice Mako Mori
under del Toro it all makes sense — and even
(Rinko Kikuchi), whose own past traumas may
better, he makes us care about it.
prove to be the key that unlocks the program’s greatest partnership yet.
The film takes place in the not-too-distant
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future, where a portal unexpectedly opens at
Although all of that might seem complicated,
the bottom of the Pacific Ocean, unleashing
once you know the words “kaiju,” “jaeger,” and
a wave of monstrous, building-sized beasts
“neural bridge,” you understand all you need to
called Kaiju upon the world. (The term
know about Pacific Rim — at least at the outset.
comes from the Japanese movie genre of
What’s interesting about this film’s seeming
the same name, which gave birth to such
simplicity is that it highlights an odd truth
iconic characters as Godzilla, Mothra, and
about cinematic mythologies in general: the
the Cloverfield monster.) In order to combat
more immediately digestible they are, the more
these creatures, humankind overcomes its
interested audiences seem to be in examining
geographic and political differences to create
their edges, uncovering their details, and
OU T OF T H E DA R K N E S S F I L M F E S T I VA L
expanding the world. For example, all we needed to know about Star Wars in 1977 was the Rebels, the Empire, the Death Star, and the Force, and suffice it to say that a couple of universes worth of characters, species, technologies, and even philosophies have since been developed. Compared to the updates and reinventions in Star Trek, Man of Steel, and The Lone Ranger, del Toro’s film is mercilessly streamlined, an exercise in restraint in spite of the fact that all its machinery (literal and metaphorical) was created from whole cloth. Speaking of that machinery, the action — no small part of the film’s appeal — is phenomenal. Each fight evolves from the previous one, feels suitably epic, and actually serves a narrative purpose. After an opening sequence introduces the basic science of each Jaeger, the movie mostly avoids too many unnecessary expository details, instead unleashing the established foundation of technique and technology upon whatever odd-shaped monster might be in a Jaeger’s way. Raleigh’s machine Gipsy Danger, for example, uses an energy cannon, a retractable sword, and a rocket-powered haymaker to combat its opponents. But unlike a James Bond film where the hero advertises a cool gadget, uses it once, and
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then loses or discards it, Gipsy returns to
quality that differentiates Raleigh’s initial
each of them multiple times. It serves as an
swagger from his subsequent humility.)
ongoing reminder that these destructive ‘bots
Meanwhile, the relationship between Martini
are not sentient beings a la Transformers, but
and Kazinsky’s characters, or Mako and
machines with the skills and personalities of
Stacker, reinforces deeper themes within the
the humans piloting them.
film — about parents and children, loss and redemption, and the intangible bonds that
The repetition also gives the Jaegers a certain
form between the unlikeliest people.
kind of believability — a palpable physicality that suggests there are finite limitations to the
Admittedly, del Toro’s film is the sort you
ways they can move, much less to the number
go to in order to watch giant monsters fight
of missiles they can fire.
giant robots, and then incidentally stay for all of that character development and thematic
Like some of the most iconic sci-fi
complexity. Certainly fans of those Japanese
blockbusters, Pacific Rim also has the
kaiju eiga that inspired Pacific Rim will find
advantage of appealing, archetypal
much to enjoy amidst its wanton destruction,
characters and a story that’s both viscerally
which marvelously includes the sight of a robot
and emotionally engaging. Whether or not
scoring a home run off a monster’s forehead
you care deeply about Raleigh, the film’s
with a bat improvised out of a battleship. But
Maverick-esque rule-breaker, del Toro and
again, the beauty and straightforwardness
his co-screenwriter Travis Beacham populate
is deceptive, the simplicity of the film’s
the world of the film with a rich ensemble of
bruising physicality hooking you into its more
different characters, each of whom not only
sophisticated underpinnings.
serve an important function in the narrative, but also provide a dramatic (or comedic)
Ultimately, all Pacific Rim really needed to
counterpoint to one another.
be was a clear-eyed, proficient example of high-concept thrill-ride storytelling, whether
Max Martini and Robert Kazinsky play father-
or not its “original” premise was particularly
and-son Jaeger pilots whose generational
original. But del Toro accomplishes that
contentiousness conceals the importance
task and then some, making one of the most
of deep-rooted connections within a world
satisfying movies of the summer — and one of
largely defined by loss, while Charlie Day and
the best of his career — by creating not just a
Burn Gorman feature as a pair of bickering
new world, but one whose mythology actually
scientists — offering a wealth of scientific
deserves a universe.
mumbo-jumbo, but also exemplifying how people make different, equally significant contributions to a war effort even without stepping onto a battlefield. Raleigh is comparatively the weak link: bland, blonde heroism whose conventional journey provides a nucleus for the more dynamic characters to orbit. (It doesn’t help that Hunnam lacks, or fails to communicate, the
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A N N I E AWA R D S
AWA R D S C I R C U I T C O M M U N I T Y
2 0 14
2 0 13
Outstanding Achievement in Animated Effects in
ACCA 2nd Place
a Live Action Production
Visual FX team
Michael Balog Ryan Hopkins Pat Conran Florian Witzel
H U A D I N G AWA R D 2 0 14
K E Y A R T AWA R D S
Best Global Director for a Motion Picture
2 0 13
Guillermo del Toro
Best Audio/Visual Technique (2nd place) Warner Bros. Buddha Jones
Best Trailer: Audio/Visual (3rd place) Warner Bros. Buddha Jones
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Even though this film seems slightly non-mythological in its production genre, the monsters and the humanity are still on-point with del Toro’s fairytale heromonster narrative style.
GOLDEN SCHMOES
VISUAL EFFECTS OF THE YEAR
2 0 13
2 0 13
Best Sci-Fi Movie of the Year (2nd place)
Visual Effects of the Year Josh Knoll
BestSpecial Effects of the Year (2nd place)
Best Action Sequence of the Year (2nd place) Every kaiju vs. jaeger battle
INTERNE T FILM CRITIC SOCIE T Y 2 0 13
Best Line of the Year “Today, we are cancelling the apocalypse” Best Action Film Guillermo del Toro Warner Bros
L AS VEGAS FILM CRITICS S O C I E T Y AWA R D S 2 0 13
Best Horror/ Sci-Fi Film Guillermo del Toro
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The things we do for love like this are ugly, mad, full of sweat and regret. This love burns you and maims you and twists you inside out. It is a monstrous love and it makes monsters of us all. 86
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C R IMS ON P E A K
R ATED “R”
Trying to escape the ghosts of her past, an aspiring author is swept away by a mysterious stranger to a house that
FA N TA S Y / DR A M A /
breathes, bleeds—and remembers.
HORROR
ENGLISH
M I A WA S I K O W S K A , J E S S IC A C H A STA I N,T OM
S C R E E N P L AY / S T O R Y
GUILLERMO DEL TORO
CINE M AT OGR APH Y
DAN LAUSTSEN
MUSIC
FERNANDO VEL ÁZQUEZ
EDITING
BERNAT VIL APL ANA
HIDDLESTON
16 OCTOBER 2015
119 M I N U T E S
SUMMARY DTS | DOLBY DIGITA L | SDDS
Edith Cushing’s mother died when she was young but watches over her. Brought up in the
1.85 : 1
Victorian Era she strives to be more than just a woman of marriageable age. She becomes
DELUXE, TORONTO,
enamored with Thomas Sharpe, a mysterious
CANADA; FOTOKEM
stranger. After a series of meetings and
L A B OR AT OR Y, B U R B A N K
incidents she marries Thomas and comes to live
(CA)
with him and his sister, Lady Lucille Sharpe, far away from everything she has known.
35 M M (SPHERICA L) (KODAK VISION 2383)
Hardly has she moved in than Edith’s
D-CINEMA
nightmares become quite vividly real, being haunted by ghoulish apparitions. It’s as if the house doesn’t want her there... The naive girl soon comes to realize not everything is as it appears as ghosts of the past quite literally come out of the woodwork.
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CAST
CREW
Mia Wasikowska
Edith Cushing
Jessica Chastain
Lucille Sharpe
Tom Hiddleston
Thomas Sharpe
Charlie Hunnam
Dr. Alan McMichael
Jim Beaver
Carter Cushing
Burn Gorman
Holly
Leslie Hope
Mrs. McMichael
Doug Jones
Edith’s mother /
PRODUCTION
Guillermo del Toro Callum Greene Jon Jashni Mary Parent Jillian Share Thomas Tull
WRIT TEN BY
Guillermo del Toro Matthew Robbins
CASTING
Robin D. Cook
PRODUCTION DESIGN
Thomas E. Sanders
SE T DECOR AT ION
Jeffrey A. Melvin
Lady Sharpe
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Shane Vieau
Johnathan Hyde
Ogilvie
Bruce Gray
Ferguson
ART DIRECTION
Brandt Gordon
Emily Coutts
Eunice
COSTUME DESIGN
Kate Hawley
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L OC AT IONS
MPA A R AT ING
Kingston, Ontario, Canada
Sex & Nudity : 7/10
Pinewood Toronto Studios, Port
Violence & Gore: 9/10
Lands, Toronto, Ontario, Canada Profanity 8/10 Victoria College, University of Toronto, Toronto, Ontario, Canada
Alcohol/ Drugs / Smoking: 2/10
Casa Loma, Toronto, Ontario, Canada
Fright / Intense Scenes: 9/10
Dundurn Castle, Hamilton, Ontario, Canada
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J u l y
1 4 ,
2 0 0 8
T HIS IS A GOT HIC ROM A NCE T H AT TA K E S US BACK TO T HE F EMININE E A RLY DAYS OF HORROR
A DA R K R OM A NC E , NO T T E R R OR Chloe Bucklet, The Conversation
“Ghosts are real. This much I know. The first time I saw one I was 10 years old. It was my
garb – and when it does, it is frequently looked down on, and labelled a perversion.
mother’s. Black cholera had taken her. So Father ordered a closed casket, asked me not
Take Twilight. Both the books and their
to look. There were to be no parting kisses. No
(female) readers were derided as lacking
goodbyes. No last words. That is, until the night
credibility. Although an inheritor of the
she came back.”
tradition of the gothic dating back to the 18th century, it faced criticism in a contemporary
—Edith Cushing, Crimson Peak
culture for whom the word “romance” has come to signify cliché and naivety, lacking artistic
Horror comes in many guises. Psychological,
credibility. Twilight was sidelined, considered
violent, gothic, sure. But rarely – in
unauthentically gothic in attempt to bolster the
contemporary culture – romantic. Romance (in
genre’s reputation.
the modern sense of the word) doesn’t tend to crop up in much modern horror, or in gothic The same is true of Guillermo del Toro’s keenly anticipated film, Crimson Peak. Indeed, Forbes’ review suggests that it is little better than Twilight, so disappointed are they with the film’s lack of horror. What Crimson Peak reminds us, though, is that gothic romance is the originator of modern horror: gothic and romance are inextricably related. Crimson Peak is set at the turn of the 20th century and follows the fate of the American middle-class Edith (Mia Wasikowska) as she is seduced by the English baronet, Thomas Sharpe (Tom Hiddleston) and travels with him to his crumbling Cumberland ancestral home, Allerdale Hall.
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As she explores the gothic mansion, which is slowly sinking into the oozing red clay of the family’s now defunct mines, Edith realises that the Sharpe family hide a host of unsavoury secrets. Ghosts, unburied bodies and secret wax recordings by the house’s former residents reveal the Sharpe family to be morally corrupt and psychologically unstable. Trapped by a raging winter storm, Edith searches desperately for an escape.
Del Toro adapts this familiar format replacing “savage” medieval Europe with “savage” fin de siècle England. The decaying wilderness of
This might sound horrific, but critics remain
Cumberland provides an apt backdrop for a
divided as to the legitimacy of the film as a
tale of child abuse, incest and murder. This
piece of gothic horror. For Digital Spy, it is the
is contrasted with Edith’s bustling modern
fact that the film is so overtly a romance – and
hometown of Buffalo, New York.
not horror – that renders it a failure. What these reviews reveal is a split in our cultural
In 18th century gothic it is possible to identify
consciousness between forms of fiction deemed
female tropes (entrapment and incarceration)
masculine (horror), and those deemed feminine
alongside male ones (exile and isolation) in the
(romance). But Crimson Peak divides critics
same works. Mary Shelley’s Frankenstein – a
precisely because it presents an ambiguous
classic work of masculine gothic focusing on
mixture of both: it refuses to entirely disavow
the transgressions of the anti-hero – is also
the feminine in favour of the masculine. And
intimately concerned with the feminine in
this is its triumph.
its exploration of motherhood and familial relationships.
THE BIRTH OF HORROR Crimson Peak’s portrayal of the sinister Sharpe The genre of gothic romance held court
family contains the tropes of monstrosity
between 1760 and 1830. Walpole initiated the
and transgression that are associated with
trend with The Castle of Otranto in 1764, a
the “masculine” gothic. But Crimson Peak
self-styled “Gothic Romance” featuring many of
also explores what Kate Ferguson Ellis dubs
the tropes we see in Crimson Peak. Following
the “female gothic”; a story concerned with
the publication of Walpole’s Otranto, stories
the way female subjects are incarcerated and
of virtuous heroines incarcerated in the
confined by the repressive ideologies and
crumbling ruins of medieval Europe, pursued
structures of patriarchal society. The horror of
by degenerate aristocrats hiding gruesome
Crimson Peak lies as much in its exploration
terrible family secrets, were eagerly consumed
of the characters’ emotions, in its “feminine”
by a bourgeois English reading public.
concerns, as in its depiction of gruesome violence and sexual transgression.
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FEMALE HORROR Initially, Crimson Peak is a little squeamish
heroine is laudable indeed, but it accompanies
about the idea of romance. Edith writes ghost
a feminine tragedy. Though our plucky heroine
stories but does not want to be seen as a women’s
will escape, her antagonist cannot. The most
writer and baulks at the idea of inserting a
horrifying and haunting image of the film
romance plot into her manuscript. She also
is that of Lucille – now a ghost – inescapably
rejects the idea of romance for herself, reminding
incarcerated in the shadow of her mother’s
friends that Jane Austen died a spinster and
portrait, while Edith escapes through the
Shelley a widow.
castle’s gates.
Some critics have found that the subsequent
Crimson Peak is a gothic romance intimately
romance between Edith and Thomas somewhat
concerned with the emotional burden of
stilted, but this is the point. The unsatisfying
familial and romantic relationships – and with
interactions between Thomas and Edith
the psychological cost that care demands take
reveal the film’s feminine concerns: Edith’s
on women. It is also a film that is interested in
arrival at the rotting Allerdale Hall brings
sexual transgression, monstrosity and excess.
with it a sickening sense of regret and dismay
Del Toro’s entangling of horror with romance
as she realises that not only is she trapped in
refuses to privilege one form over the other.
the crumbling castle, but that she has fatally
Subsequently, the film’s horror is located both
misjudged her lover’s intentions and feelings.
in the grotesque ghosts and brutal violence and
It is Thomas’s sister Lucille who most entangles
register produces. And as such, it takes horror
the masculine with the feminine. Transgressive
back to its beginning.
in the claustrophobia its feminine emotional
and violent, Lucille is the film’s anti-hero, taking the masculine role from her brother once the action moves to Cumberland. Yet she is also incarcerated, confined by her domestic role as daughter and sister, consumed by bitter disappointment and regret. Lucille’s homicidal madness is a necessary gothic trope, as well as a nod to Daphne du Maurier’s Rebecca (1938). But it is also a result of the particular psychological demands made on women in the patriarchal family. We find out that both Sharpe children were neglected and abused by their parents: Lucille had to care for Thomas and sit by her mother’s bedside, nursing her abuser back to health. One review of the film applauds its “feminist” climax, which sees Edith and Lucille locked in physical battle, the male characters nowhere to be seen. The decisive action of the plucky
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AWA R D S
ACADEMY OF SCIENCE FICTION,
F A N G O R I A C H A I N S AW AWA R D S
F A N TA S Y & H O R R O R F I L M S
2 0 16
2 0 16
Best Horror Film
Best Supporting Actress Jessica Chastain
Best Supporting Actress Jessica Chastain
Best Wide-Release (2nd place) Guillermo del Toro
Best Production Design Thomas E. Sanders
Best Actor (2nd place) Tom Hiddleston
Best Score (2nd place) Fernando Velรกzquez
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Guillermo del Toro’s showmanship is evident from the off in this addictively watchable, macabre Hitchcockian fantasy. Crimson Peak is a triumph of production design that attempts to cover for a generic story with little in the way of complexity or incident.
F R I G H T M E T E R AWA R D S
T H E J O E Y AWA R D S , VA N C O U V E R
2 0 15
2 0 16
Best Special Effects
Best Actress in a Feature Film Suppporting/
Guillermo del Toro
Principal Role Age 5-11 Sofia Wells (young Edith)
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A journey is a fragment of hell Bruce Chatwin, The Songlines
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the odyssey
THREE
A
D
H
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THE CITY WITH DARK, DARK ROOTS
T
he San Francisco Bay is known for a lot of things: piers, sailboats, beautiful beaches and quaint towns. But it also has a deeper, darker history of hauntings all along the coastline. Founded all the way back in 1776, the city of San Francisco, California offers a storied past featuring prominent roles by such groups as Spanish missionaries, gold miners and immigrants from around the world. Due to its rich background, San Francisco offers its fair share of haunted history tours that explore ghostly stories and tales of the past inhabitants of the city. Supernatural, paranormal entities are, of course, scientifically at a proven inexistence, but if you’re a true fan of the horror and the mystery of the dark unknown, San Francisco’s gothic past and everinquisitive inhabitants will always keep you busy. The next few pages will keep your eyes and ears open to all things you could learn about the monsters of San Francisco.
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THE PATHWAYS TO ENLIGHTENMENT 8.
4.
6.
3.
10.
2. 1.
9. 5.
7. V ICTOR I A THE ATR E 102
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FESTIVAL PERKS (FREE WITH PURCHASE OF FESTIVAL TICKETS)
AT&T PA R K
1.
DARK PRAYERS
2.
THE CRAWLOWEENIE
3.
KAIJU SUSHI WEEK
4.
MONSTERBALL NIGHT
5.
TERRORTRERO
6.
SFMOMA’S FREAKSHOW
7.
DOGPATCH DYSTOPIA
8.
NIGHTMARES & NOVELAS
9.
A HAUNTED ALAMO
10.
CIVIC UNDERGROUND HORROR
10 . 2 5
THE DEVIL’S BACKBONE
10 . 2 6
HELLBOY
10 . 2 7
PAN’S LABYRINTH
10 . 2 8
HELLBOY II: THE GOLDEN ARMY
10 . 2 9
PACIFIC RIM
10 . 3 0
CRIMSON PEAK
10 . 31
ALL HALLOW’S EVE 2017
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ALL HALLOW’S EVE 2017
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10 . 31 7 PM – MIDNIGHT
AT & T PA R K 24 WILLIE MAYS PLAZA, SAN FRANCISCO, CA 94107
Sometimes, it is natural to be supernatural, mythical, curious and a sociopathic monster—on Halloween. As part of Out of the Darkness Film Festival, every one with a ticket to any of the days of the festival has full access to the Halloween celebrations at San Francisco’s famed At&T Park. From sundown, till midnight, the venue will be filled with the vestiges of Guillermo del Toro’s magnificent work to be viewed, purchased and stupefied by. On All Hallow’s Eve at the At&T Park, every member of the festival will be eligible to indulge in the following:
THE FACE OF FRIGHT: AN EXHIBIT OF THE LIFE-SIZED MONSTER COSTUME DESIGNS FROM THE FILMS OF GUILLERMO DEL TORO MONSTERS AMONG US: A SERIES OF SHORTS FROM DIRECTORS OF THE SUPERNATURAL FANTASY ABOUT THEIR INSPIRATIONS CABINET OF CURIOSITIES: GUILLERMO DEL TORO’S SKETCHBOOKS, MONSTER MINIATURES AND FILM PARAPHERNALIA ALL HALLOW’S EVE FIESTA: FREE FOOD AND DRINKS FROM THE SPONSORS OF THE FILM FESTIVAL
M A N D AT O R Y F O R ACCESS:
F E ST I VA L T IC K E T P OUC H
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FESTIVAL PERKS 10 . 2 5 – 10 . 31
F U L L D AY A C C E S S
D I F F E R E N T L O C AT I O N S , DOWNTOWN SAN FRANCISCO
The best part about a festival is the experience that comes along with it. As a ticket-holder to Out of the Darkness Film Festival, you have earned yourself credit to 1 free meal and drink a day at any of the events/venues listed in the perks on the right. Be it the cobwebbed corners of The Chapel bar, or the Kaiju week at Geary Street, the whole city will be filled with remnants from Guillermo del Toro’s legacy of monsters among the face of humanity. Have brunch in the dystopian truck park at Dogpatch, or sip champagne at the SF Museum of Modern Art while gazing into the display of horror film props. Dress up as your favorite Troll Market monster on Monsterball Night at Local Edition, or curl up and listen to San Francisco’s real life horror stories at the Alamo Square. No matter what you want to do, the festival has you covered for the biggest monsterfest of your life in one of the most eerily haunted cities in the country. Don’t forget to bring your favorite monsterfighting weapon along!
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EVENT
VENUE
PERKS
DARK PR AYERS
THE CHAPEL, 777 Valencia Street
Free meal and drinks
THE CR AWLOWEENIE
BOTTOM OF THE HILL, 1233 17th Street
Free guided tour, refreshments
K AIJU SUSHI WEEK
389, 430, 705 Geary Street (3 Sushi stops)
Free platter in any one sushi bar
MONSTERBALL NIGHT
LOCAL EDITION, 691 Market Street
Free drink and small platter
TERRORTRERO
TRIPLE VOODOO BREWERY, 2245 3rd Street
Free beer-tasting tour
SFMOMA’S FREAKSHOW
SF Museum of Modern Art, 151 3rd Street
Free lunch and drink
DOGPATCH DYSTOPIA
POTRERO HILL RECREATION, 801 Arkansas Street
Free lunch/dinner
NIGHTMARES & NOVEL AS
NOVEL A BAR, 662 Mission Street
Free artisan cocktail drink
A HAUNTED AL AMO
AL AMO SQUARE, Hayes & Stiener Street Junction
Free dessert and guided campfire
CIVIC UNDERGROUND HORROR
CIT Y HALL, 1 Dr. Carlton B. Goodlett Place
Free brunch and guided tours
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RESOURCES
S A N F R A N C I S C O P U B L I C L I B R A R Y, Larkin Street Public domain knowledge, Multimedia files, Festival information guides
V I C T O R I A T H E AT R E , Mission Street Festival staff office, festival merchadise, lost & found, customer car personnel
S A N F R A N C I S C O M U N I C I P A L O F F I C E , Market Street Accomodation & travel services, guided tours at the City Hall & Alamo Square districts
O U T O F T H E D A R K N E S S F E S T I VA L H E A D O F F I C E , Hyde Street Detailed information about festival, schedules, tours, merchandise, design & administrative departments
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C O N TA C T:
info@ofthedarkness.com 415 206 0443
TICKETS:
ofthedarkness.com
SOCIAL MEDIA :
facebook.com/outofthedarkness @darknessmonsterfest #ootdsf
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