Guillermo del Toro’s Six Unmissable Films for Every Fan

Guillermo del Toro’s devotion to the world of cinema is hard to overstate. His home, affectionately dubbed Bleak House, is less a residence and more a living museum, brimming with artefacts that pay homage to his lifelong fascination with the macabre and the marvellous. From Frankenstein’s monster heads to a full-scale Ray Harryhausen model, every corner is a testament to his passion. Yet, behind the gothic façade, there’s no lurking fiend—just a filmmaker utterly besotted with the art of storytelling, especially when it comes to the strange and the supernatural.

Del Toro’s films often blur the boundaries between reality and fantasy, inviting viewers to lose themselves in worlds both enchanting and unsettling. Pan’s Labyrinth, perhaps his most celebrated work, captures this perfectly. The film follows a young girl navigating a war-torn landscape, seeking solace in a realm populated by peculiar creatures and ancient magic. It’s not hard to imagine del Toro himself wandering through his own labyrinthine home, finding comfort in the fantastical as a refuge from the everyday.

Monsters, Memories, and the Magic of Cinema

For del Toro, monsters are more than mere figures of fright—they’re a kind of faith.

“My religion,”

he once called his affection for these misunderstood beings. It’s little wonder, then, that Pan’s Labyrinth stands among his most cherished creations, joined by five other films that he considers essential viewing for anyone curious about his cinematic universe.

The Devil’s Backbone, his 2001 gothic ghost story, is another personal favourite. Set against the backdrop of the Spanish Civil War, it weaves together the innocence of childhood with the lingering shadows of conflict. The film manages to be both deeply moving and quietly unnerving, a balance del Toro handles with remarkable finesse. Crimson Peak, meanwhile, offers a different flavour of gothic—less horror, more romance, all set within the lush, exaggerated world of Victorian England. The costumes are sumptuous, the colours vivid, and the atmosphere thick with longing and dread.

Reimagining the Classics

Del Toro’s fascination with the gothic doesn’t end there. His latest project, a fresh take on Frankenstein starring Oscar Isaac and Jacob Elordi, sees him finally realising a long-held ambition. He’s spoken candidly about the experience, saying,

“the experience of making this film was as good or better than I ever imagined.”

For a director who’s spent decades dreaming of his own version of Mary Shelley’s classic, it’s a proper milestone.

Monsters, of course, remain a recurring motif. The Shape of Water, which earned him both Best Picture and Best Director at the Oscars, tells the unlikely tale of a mute cleaner and her bond with an amphibious creature. What could have been a bizarre romance is, in del Toro’s hands, a poignant meditation on loneliness and the yearning for connection. The film’s emotional depth is matched only by its visual inventiveness.

Blockbusters with a Personal Touch

Perhaps the most surprising entry on del Toro’s list is Pacific Rim. On the surface, it’s a big, brash monster flick—giant robots, towering beasts, cities in ruins. Yet, unlike the more bombastic offerings from the likes of Michael Bay, Pacific Rim is imbued with a sense of artistry and care that elevates it above the usual fare. Del Toro brings a painter’s eye to the chaos, ensuring that even the most explosive set pieces have a touch of poetry.

Each of these six films offers a window into del Toro’s singular vision—a world where the monstrous and the magical are never far apart, and where every story is told with heart, wit, and a dash of the unexpected.