Hong Sang-soo's Hat Trick
In The Novelist's Film, Hong explores the meaningful things people share and inspire by virtue of simply engaging with one another.



Twenty years after its release, Guillermo del Toro’s “Pan’s Labyrinth” remains one of the greatest fantasy films ever made. Few movies blend the wonder of a fairy tale with the brutality of real-world history as effectively as this richly textured dark fantasy, set against the backdrop of Francoist Spain in 1944.
Like “The Wizard of Oz,” Jean Cocteau’s “Beauty and the Beast” and “Crouching Tiger, Hidden Dragon,” del Toro’s masterpiece delves beyond the elements to create two distinct worlds built around fear, authoritarian rule and morality.
Del Toro’s masterpiece got a theatrical run to celebrate its 20th anniversary. I’d put money on it that it will be the best movie released in theaters this year.
Watching it again for the first time in nearly 20 years, I kept thinking I should revisit this movie more often.
One issue moviegoers may have with “Pan’s Labyrinth” is the dark nature of the fantasy and war story. It is not for the faint of heart. It is dark, but for me, it’s pitch perfect.
As a director, del Toro is no stranger to the dark and macabre arts. He cut his teeth working in gothic horror with “Mimic” and “Cronos.” He then showed his ability to handle scope and scale with “Blade II” and “Hellboy.”
Those superhero movies, while strong entries into any director’s filmography, were just an appetizer to “Pan’s Labyrinth.”

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.
In The Novelist's Film, Hong explores the meaningful things people share and inspire by virtue of simply engaging with one another.
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