While a large part of the country today seems dedicated to erasing those they deem outsiders, it is important that we take a closer look at the things we have been encouraged to look away from. Mexico has a rich history of film, with the Golden Age of Mexican Cinema leaving a lasting impact on the country and on the art form itself, so it’s no surprise that one of the most impactful directors of our time is Mexican.
If, by some miracle, you haven’t heard the name Guillermo del Toro, there is absolutely no way that you’ve been able to escape his films. His filmography includes Pan’s Labyrinth, Blade II, The Shape of Water, Hellboy, The Book of Life and most recently, Frankenstein. All of his projects have a strong voice and artistic vision. If you see gothic imagery, elaborate character design, detailed set production, and an exploration of the “outsider,” you know that you are watching a del Toro film. Despite this distinct pattern, he also has an amazing range. The dark and otherworldly Pan’s Labyrinth is on the same list as the fantastical and comedic story of The Book of Life. That is part of what makes his work so intriguing: the balance he strikes between humor and fear, death and life, and light and dark.
del Toro was born in Guadalajara, Mexico, on October 9, 1964, and he highlights his cultural identity as a major contributor to his creative vision. When asked how he was able to create such dark films while being such a cheerful person, del Toro answered, “I’m Mexican,” going on to say, “No one loves life more than we do, in a way, because we are so conscious about death.” He describes his 2025 film Frankenstein as being informed by Latin culture. From the heavy Catholic imagery to the depiction of the Frankensteins’ family dynamic, del Toro describes Frankenstein as “very Mexican.”
While both del Toro and audiences see his identity as a strength, others in the industry have not always shared the same opinion. At San Diego Comic-Con, the director described his frustration with constantly being pushed to do movies on drug dealers and matadors early on in his career. During the same panel, he encouraged fellow filmmaker Guillermo Navarro to share his experience with an agent, where he was told that their office already had a gardener and didn’t need another Mexican. Despite the pushback, del Toro forged on and refused to make a film that he did not identify with.
These walls, no matter how hard they have been to overcome, have undoubtedly left a mark on his art. The story of a “monster,” the story of an outsider, is something del Toro is incredibly familiar with. It is because of his unique experience that he is able to make films that feel fresh and lively at a time when certain stories have started to feel stale. For the success of the medium and the advancement of the culture, we need people who will push boundaries and force us to question the status quo. There are hundreds of future directors across the globe right now who are being overlooked, and all that they need is a camera.
