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Pan's Labyrinth

Pan's Labyrinth

Fantasy · Drama · War · 2006

In post–civil war Spain, 10-year-old Ofelia moves with her pregnant mother to live under the control of her cruel stepfather. Drawn into a mysterious labyrinth, she meets a faun who reveals that she may be a lost princess from an underground kingdom. To return to her true father, she must complete a series of surreal and perilous tasks that blur the line between reality and fantasy.

Movie details

Pan's Labyrinth

“Innocence has a power evil cannot imagine.”

2006 Fantasy · Drama · War 1h 58m

Critical arithmetic

One number, for now.

TMDB

7.8 / 10

Community rating

In post–civil war Spain, 10-year-old Ofelia moves with her pregnant mother to live under the control of her cruel stepfather. Drawn into a mysterious labyrinth, she meets a faun who reveals that she may be a lost princess from an underground kingdom. To return to her true father, she must complete a series of surreal and perilous tasks that blur the line between reality and fantasy.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Pan's Labyrinth?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Guillermo del Toro

Written by

Guillermo del Toro

Ivana Baquero

Ivana Baquero

Ofelia

Sergi López

Sergi López

Capitán Vidal

Maribel Verdú

Maribel Verdú

Mercedes

Doug Jones

Doug Jones

Fauno / Pale Man

Ariadna Gil

Ariadna Gil

Carmen

Á

Álex Angulo

Dr. Ferreiro

Roger Casamajor

Roger Casamajor

Pedro

Court is in session

Put Pan's Labyrinth on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.