Guillermo del Toro remembers how the death of one of his brothers influenced his version of ‘Frankenstein’ – Movie news

Guillermo del Toro He has built his cinema on an intimate and deeply personal terrain, where family and its complexities occupy a central place. From monsters to heroes, many of their stories explore the relationship between parents and children, and the weight of motherhood and fatherhood in the formation of identity. movies like Pan’s Labyrinth o Pinocchio show that for del Toro, family ties are not just a backdrop, but the very heart of the narrative.

How family tragedy shaped Guillermo del Toro’s version of ‘Frankenstein’

Del Toro frequently takes elements from his biography to give depth to his stories. The director of Chronos y The devil’s backbone He has recognized that painful personal experiences, such as the death of one of his brothers, have marked the way he approaches creation and tragedy in his films.. That sense of loss, combined with the fascination with motherhood and birth, runs through works that alternate between fantasy, terror and the poetic, showing characters searching for meaning in the face of the inevitable.

Connections between the life of Mary Shelley and the life of Guillermo del Toro

In interview with Sensacine Latamdel Toro reflected on life, death and rebirth in Frankenstein: “One of my brothers died in the womb and one was the twin of a brother of mine. Also my mother’s mother died like Mary Shelly’s mother died after giving birth. So, in my family, like in Mary Shelly’s, there was this idea of ​​birth and death that also happens in Pan’s Labyrinth. There’s one thing I can’t explain, but it’s there. And the obsession with fetuses. What can I say?”

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These words reveal how family tragedy becomes creative material, uniting his personal story with the literary myths he adapts. The filmmaker points out that both in Frankenstein as in Pan’s Labyrinth There is one constant: the tension between life and death from birth. The experience of early loss, grief for siblings, and connection to absent or deceased maternal figures imbue her films with a drama that transcends horror and fantasy.

Finally, the version of Frankenstein by del Toro, which you can already see in some theaters in our country, is presented as a tribute to the family complexities and personal tragedies that shape creativity. By interweaving his personal story with that of Mary Shelley, the director achieves a story that not only questions the morality of creation, but also celebrates the strength of human bonds, the memory of those who have been lost and the constant search for meaning in the midst of pain. His cinema, thus, becomes an act of memory and love towards his own family and towards the stories that formed him.