Guillermo del Toro
Guillermo del Toro arguably went ‘mainstream’ with the well-received Hellboy (2004) and its sequel, Hellboy: The Golden Army (2008). While the sequel was not a success at the box office, and the planned trilogy was scrapped, the former’s international success allowed del Toro the opportunity to craft what many critics believe to be his true masterpiece, the epic fairytale Pan’s Labyrinth (2006).
The story takes place five years after the Spanish Civil War. In it, we see young Ofelia led through various trials and tribulations throughout a fantastical landscape. She’s guided by a mysterious faun in order that she may gain her immortality. Meanwhile, in the ‘real world’ she must stand up to a ruthless ‘stepfather,’ while protecting her mother whose health is deteriorating. She also has a new baby brother to take care of.
The success of Pan’s Labyrinth is notable as the film is presented in its original Spanish language. Its spiritual predecessor, The Devil’s Backbone (2001), was also presented in this format. Pan’s Labyrinth is an iconic film that remains a gloriously ethereal experience to watch. It also has a heartbreaking ending that still raises questions, as well as demanding reflection of the viewer.
The Shape of Water (2017) cemented del Toro as a Hollywood Darling. The film rightfully earned him the Academy Award for Best Picture and Best Director in 2018. He could now pick and choose his projects, including an upcoming live-action version of Pinocchio. This will be competing against the Disney+ live-action version starring Tom Hanks. There are even rumors of del Toro traveling to a Galaxy Far, Far Away for a Jabba the Hutt gangster movie.
Spanish Cinema
Although the rumblings of the commercialization of del Toro have quietened, there is no doubt that the director opened a door to Spanish cinema. While the story had to be worth the effort, the general public was clearly willing to read subtitles as evidenced by the success of Pan’s Labyrinth. However, what the average cinemagoer does not realize is that del Toro is Mexican. Although, he does tend to lean on his Spanish lineage. Also, his parents are Spanish citizens who fled Spain during the Civil War.
Spanish cinema hardly is, or was, in the doldrums. Still, historically, the majority of Spanish films remain domestic and localized. They do not travel well. They also would very rarely ever appear in an American or British cinema or regional streaming service. There is absolutely nothing wrong with the country providing the product their audiences like. However, it lacks certain commerciality or anything that could ‘crossover’ the border, let alone the Atlantic Ocean.
Spanish films generally fall into three main genres: comedy, historical dramas, and psychodramas. Their humor is their humor, and their history is their history. Plus, we can argue the global cinematic landscape is dominated by sci-fi fantasy, without anything on the horizon to take its place. Star Wars: Episode VII – The Force Awakens (2015) remains at #1 domestically at their box office, while Avatar (2009) holds the same position at the global box office.
These are properties that travel well because their stories are timeless. Also, their themes are universal, their characters are empathetic, and none of it gets lost in translation. It may be true that these films have $100 million (and up) budgets, which European countries simply cannot match. However, properties like The Avengers build their lore and reward their fanbase. This is routinely done on a week-by-week basis. You will not find a Spanish Superhero. At least not one who the creators take seriously. Take Super Lopez (2018) for example.
Firsthand Experience
This writer does have firsthand experience and a taste of the Spanish public’s desire for what the US has cooking. Having spent the last four years in a small urbanized town in southern Spain, the highlight of any given week was a Tuesday night at the local multiplex, Yelmo Cines. The theater would show an English (American) language film in its original version. This meant no poor Spanish dubbing. All other showings throughout the week were translated versions.
While missing out on a few cinematic experiences such as Captain Marvel (2019), I was determined to get a seat for such titles as Ghostbusters: Afterlife (2021), Joker (2019), and Avengers: Endgame (2019). The showings for these films were always, always packed. True there were a number of ex-pats present. However, there was also a majority of local cinephiles there who wanted to see these films as ‘intended,’ preferring to hear “Avengers…Assemble” over “Vengadores…Reunidos.”
Another thing of note is that, for the most part in Spain, matinees do not exist. The first showing of the day would usually be around 6 pm. This is generally connected and attributed to the Mediterranean way of life, replete with late dinners and conversation over coffee rolling into the wee, small hours. While the cinematic industry is thriving in Spain, it is not a pastime, or even a way of life, as it would be considered in the US or Great Britain.
My personal taste and experience of the Spanish attitude towards cinema are by no means negative, just surprising when viewed through the cinema lovers’ rose-tinted specs that one often wears. Also, there is no doubt this country’s own love of domestic products is shared by the majority of European nations. However, one struggles to name a Portuguese, Finnish, or Greek powerhouse of modern cinema that can be mentioned in the same breath as Guillermo del Toro.
In Conclusion
It’s generally thought that the US will continue to dominate cinema for years to come with its economic power, never-ending access to marketable and commercial I.P., and simple aspirational imagery. We all love a franchise and we all feel safe and secure watching it. However, when something comes along that is truly special, something we have never seen or heard before, it leaves a mark. It creates a memory, inspires a desire, and it can lead one towards further risk-taking and exploration.
We cannot keep relying on the US for ‘indie hits.’ Why not unearth our cinematic atlas and go exploring? While I cannot wait for Wakanda Forever, if a trusted critic, or perhaps a colleague with whom I share an office, makes a recommendation about a micro-budgeted, independent film from his home country (real-life example being a Portuguese colleague), then I would gladly race home to find a copy.
