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10

I think it's deliberately ambiguous. If it's real, the inconsistencies are easily explained by Vidal's fascist belief system. These elements simply are not part of his world. If it's fantasy, then of course only Ofelia can see these thing because she imagined them. I think part of Del Toro's purpose in the film was to maintain the plausibility of both of ...


7

During a film studies class we took a long look at Pan's Labyrinth, and some interesting observations were made. My memory is sketchy, but to answer your question it is my understanding that two story threads are unraveling here; one is Ophelia's fantasy-laced ascent into womanhood (symbolized by the 'blood-letting' at the end which announces her arrival), ...


2

The last door does give the impression that what Ofelia experiences is, at least partly, real and not pure imagination. Also, director Guillermo Del Toro has stated the following in an interview: Now objectively, the way I structured it, there are three clues in the movie that tell you where I stand. I stand in that it's real. The most important clues ...


2

This is a fantasy playing out in Ofelia's mind. She is a child of war and this is her escape from the atrocities she is witnessing. If you know Spanish the fawn speaks to Ofelia in the "vosotros" subject, translating to you (plural) in English. A nice detail on Del Toro's part.


1

This film is the Christ metaphor. Like the matrix and about a zillion other films. The reunion was the joining of the trinity in Biblical Scripture. Her blood was the blood Christ spilled on the cross. The child is a symbol of man's soul that is saved by the blood.



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