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English: Pan's Labyrinth
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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.
Set in a dark Spanish forest in a very dark time — 1944, when Spain was still in the early stages of the fascist nightmare from which the rest of Europe was painfully starting to awaken — “Pan’s Labyrinth” is a political fable in the guise of a fairy tale. Or maybe it’s the other way around. Does the moral structure of the children’s story — with its clearly marked poles of good and evil, its narrative of dispossession and vindication — illuminate the nature of authoritarian rule? Or does the movie reveal fascism as a terrible fairy tale brought to life?
With Pan’s Labyrinth, however, writer-director Guillermo del Toro has built on his proven skills in fantasy (Hellboy in 2004) and Spanish history (The Devil’s Backbone from 2001) to produce a work that is at once a logical development of his artistic trajectory and a wholly unexpected masterpiece from a director identified with such low-status genres as horror.
This article presents a conversation with Guillermo del Toro, writer and director of the film Pan's Labyrinth. His insightful commentary about the deeper meanings of the film acts as an effective rebuttal to critics who dismiss genre movies as being inherently mindless.
For sheer imaginative brio, Pan's Labyrinth is one of the films of the year. But the dark fable was a labour of love for director Guillermo del Toro, who says that violence in his native Mexico is key to his extraordinary vision
Film: Pan's Labyrinth
In the facist Spain of 1944, the bookish young stepdaughter of a sadistic army officer escapes into an eerie but captivating fantasy world.
The years of the Spanish Civil War filled twentieth-century Spain with hope, frustration and drama. Not only did it pit countryman against countryman, and neighbor against neighbor, but from 1936-39 this bitterly contended struggle sucked in competing and seemingly atavistic forces that were soon to rage across the face of Europe, and then the rest of the world: nationalism and republicanism; communism and fascism; anarchism and monarchism; anti-clerical reformism and aristocratic Catholic conservatism.
In 1940, Daily Telegraph correspondent Henry Buckley published his eyewitness account of his experiences reporting from the Spanish Civil War. Life and Death of the Spanish Republic is a unique account of Spanish politics throughout the entire life of the Second Republic, from its foundation on 14 April 1931 to its defeat at the end of March 1939, combining personal recollections of meetings with the great politicians of the day with eyewitness accounts of dramatic events. This important book is one of the most enduring records of the Spanish Republic and the civil war and a monumental testimony to Buckley's work as a correspondent. Providing a fascinating portrait of a crucial decade of contemporary Spanish history, and based on an abundance of the eyewitness material that only a really assiduous resident journalist could collect, this book is essential reading for anyone interested in the Spanish Civil War.
Probably Picasso's most famous work, Guernica is certainly the his most powerful political statement, painted as an immediate reaction to the Nazi's devastating casual bombing practice on the Basque town of Guernica during Spanish Civil War.
At the end of World War II, the Nazis attempt to open a portal to a paranormal dimension in order to defeat the Allies, but are only able to summon a baby demon who is rescued by Allied forces and dubbed "Hellboy" (Ron Perlman). Sixty years later, Hellboy serves as an agent in the Bureau of Paranormal Research and Defense, where he, aided by Abe Sapien (Doug Jones), a merman with psychic powers, and Liz Sherman (Selma Blair), a woman with pyrokinesis, protects America against dark forces.
Production Year: 2004
Long ago, legions of monstrous creatures called Kaiju arose from the sea, bringing with them all-consuming war. To fight the Kaiju, mankind developed giant robots called Jaegers, designed to be piloted by two humans locked together in a neural bridge. However, even the Jaegers are not enough to defeat the Kaiju, and humanity is on the verge of defeat. Mankind's last hope now lies with a washed-up ex-pilot (Charlie Hunnam), an untested trainee (Rinko Kikuchi) and an old, obsolete Jaeger.
Production Year: 2013