{"id":91,"date":"2026-05-17T18:08:06","date_gmt":"2026-05-17T18:08:06","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=91"},"modified":"2026-05-17T18:08:06","modified_gmt":"2026-05-17T18:08:06","slug":"the-night-pans-labyrinth-changed-cannes-forever","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=91","title":{"rendered":"The Night\u00a0\u2018Pan\u2019s Labyrinth\u2019\u00a0Changed Cannes Forever"},"content":{"rendered":"
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\n\tWhen Guillermo del Toro arrived in Cannes with\u00a0Pan\u2019s Labyrinth<\/em>\u00a020 years ago, he was not expecting a triumph. He was expecting to be ignored.<\/p>\n

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\n\tDel Toro\u2019s dark, ravishing fantasy set in Francoist Spain \u2014 which had taken years to finance and produce, endured a brutal production and emerged from post barely in time \u2014 was the last film to screen in competition at that year\u2019s festival. \u201cA lot of the press was leaving,\u201d del Toro recalls, speaking to\u00a0The Hollywood Reporter\u00a0<\/em>in Cannes, where he returned to present a newly restored 4K version of the movie, as the opening film in the festival\u2019s Cannes Classics selection. \u201cI was thinking: \u2018How many people are going to show up for this, on the final day?\u2019 Then the screening was packed, \u202fpacked!\u201d<\/p>\n

\n\tWhat followed is now festival legend. The film ended with what del Toro describes as \u201can explosion of applause that is the largest and most emotional I\u2019ve ever had in my life\u201d \u2014 a standing ovation that ran to 23 minutes, a Cannes record that still stands. \u201cTwenty-three minutes is a commute,\u201d del Toro told the audience at the Classics screening on May 12, in the Debussy Theatre. \u201cYou know, like the time to go from your office to your house.\u201d<\/p>\n

\n\tHe was not prepared for it. \u201cNormally Cannes is very circumspect,\u201d he said. \u201cYou either get no sound or you get aggressive sound. But rarely do people react to the screen loudly, and then they start reacting. And then it gets more and more emotional.\u201d Standing there, receiving the ovation, del Toro found himself unable to take it in. \u201cIn spite of my great body, I\u2019m not used to adulation, it\u2019s very hard for me to take in love,\u201d he told the Cannes audience. \u201cBut Alfonso Cuar\u00f3n was there with me, and he said, \u2018Let it in. Let the love get in.\u2019\u202f\u201d<\/p>\n

\n\tThe journey to that moment had been, by del Toro\u2019s account, extraordinarily difficult. \u201cThis was the second-worst filmmaking experience of my life,\u201d he said at the screening, \u201cthe first one being making\u00a0Mimic<\/em>\u00a0with the Weinsteins.\u201d Preproduction had been a struggle \u2014 \u201cnobody wanted to finance it\u201d \u2014 and the production itself piled on additional problems. \u201cIt was very difficult in preproduction, difficult production, difficult postproduction. Everything.\u201d They arrived at Cannes, he said, \u201cbasically just in time with the\u202fprint.\u201d<\/p>\n

\n\tThe film they brought was something unlike almost anything else in competition that year. Set in 1944 in the aftermath of the Spanish Civil War,\u00a0Pan\u2019s Labyrinth<\/em>\u00a0follows Ofelia, a young girl living with her pregnant mother and her new husband, a brutal Francoist captain played by Sergi L\u00f3pez. In the labyrinthine woods near their military outpost, Ofelia encounters a faun who tells her she is a princess from an enchanted world and gives her three dangerous tasks to complete before she can return to it. Del Toro intertwines her magical quests with the real-world underground struggle of the Spanish Republicans, suggesting \u2014 as in much of his work \u2014 that imagination is a form of resistance.<\/p>\n

\n\tIvana Baquero, who played Ofelia, was at the Debussy Theatre for the Cannes Classics\u202fscreening.\u00a0<\/p>\n

\n\t\u201cIvana was about 10 or 12 when she made the movie,\u201d Del Toro notes. \u201cShe\u2019s now 30. And I was 100 pounds lighter.\u201d<\/p>\n

\n\tLooking back, he sees the 2006 competition \u2014 in which Park Chan-wook\u2019s\u00a0Old Boy\u00a0<\/em>also screened in competition \u2014 as a turning point for the festival itself. \u201cOld Boy<\/em>\u00a0and\u00a0Pan\u2019s Labyrinth<\/em>\u00a0marked a big shift,\u201d he said. \u201cThis is early days at Cannes of changing the mentality of the programming from the 10 or 20 directors that normally came to Cannes.\u201d He noted that he had been to Cannes before, with\u00a0Cronos<\/em>\u00a0in 1992, as had fellow Mexican director Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu with\u00a0Amores Perros<\/em>, \u201cbut always in the sidebar sections, not in competition.\u201d\u00a0Pan\u2019s Labyrinth<\/em>\u00a0and\u00a0Old Boy<\/em>\u00a0were the start of Cannes embracing genre-inflected cinema from beyond Europe and the U.S.\u00a0<\/p>\n

\n\tThe Cannes premiere of\u00a0Pan\u2019s Labyrinth<\/em>, and the momentum it generated, set the film on a path that few could have predicted. It screened next at the New York Film Festival, \u201canother very circumspect festival,\u201d and received another standing ovation. Then Toronto. \u201cIt was really the beginning of people realizing there was something there,\u201d del\u202fToro said.<\/p>\n

\n\tThe film went on to receive six Academy Award nominations, winning three \u2014 for best cinematography, best art direction and best makeup. Made for under $20\u202fmillion, it went on to gross $83\u202fmillion worldwide.\u00a0<\/p>\n

\n\tReturning to the film for its 20th anniversary, del Toro found it still held up.\u00a0<\/p>\n

\n\t\u201cI was quite taken about how beautifully physical the movie is,\u201d he said. \u201cBack then, just as we did with\u00a0Frankenstein<\/em>, I was determined that every set was going to be built. We were going to handmake this movie. We did not shoot on location except for the forest. We built every set, every prop, built every piece of furniture. I wanted it to be, as much as possible, something fabricated. Because there was a sense of design to create a juxtaposition between the imaginary world and the round, warm colors and the cool, straight lines of the captain\u2019s world.\u201d Seeing it again, he said, \u201cI was very impacted, just feeling how the craftsmanship is beautiful.\u201d<\/p>\n

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\n\tThat includes the film\u2019s at-the-time groundbreaking blend of animatronics, with in-camera and digital visual effects. Del Toro has left them all untouched.\u00a0<\/p>\n

\n\t\u201cThe only film where I feel I did an effect that failed was on\u00a0Blade II<\/em>. There\u2019s a digital shot in there that\u2019s bad, and it will always be bad, because it was not well conceived and it was too ambitious. But there\u2019s nothing I would change in\u00a0Pan\u2019s\u202fLabyrinth<\/em>.\u201d<\/p>\n

\n\tThe new restoration will release theatrically in the United States via Cineverse and Fathom Entertainment. StudioCanal acquired international rights to the film and will release the restored version theatrically in key territories \u2014 Germany, the U.K., France, Benelux, Australia \u2014 this autumn, followed by premium Collector\u2019s Editions in those markets. Mexican exhibitor Cin\u00e9polis will lead theatrical distribution in Mexico and across Latin America. StudioCanal is handling international sales rights for the restored version.\u00a0<\/p>\n

\n\tThe theatrical run launches Oct.\u202f9 \u2014 del Toro\u2019s birthday.<\/p>\n

\n\tThe October release will also include, for the first time, a 3D version of the film. Del Toro has been working on the conversion for months and it is, by his account, still in progress.<\/p>\n

\n\t\u201cMy idea is, what can have people that experienced it in theaters say, \u2018I want to experience it in theaters again\u2019?\u201d he explains. The way he shoots \u2014 heavily composed foregrounds \u2014 made him feel the material was well-suited to the format. \u201cI always, as when I was watching it and we were placing the fairies in the digital effects, I always felt, \u2018Oh, this would be so great if it had depth.\u2019\u202f\u201d He also saw a conceptual use for it: \u201cI said, \u2018Oh, I can use it as an element of depth\u2019 \u2014 when she is in the real world, it\u2019s a little more shallow, and when she is in the imaginary world, I can have a little more depth. And I thought it could be used\u202fexpressively.\u201d<\/p>\n

\n\tThe conversion is being handled by SDFX Studios (formerly Stereo D), the same company del Toro worked with on\u00a0Pacific Rim<\/em>. \u201cFor me, the best version of\u00a0Pacific Rim\u00a0<\/em>is the Imax 3D version,\u201d he said. \u201cI feel you haven\u2019t seen the movie if you haven\u2019t seen it in Imax 3D.\u201d Calibrating\u00a0Pan\u2019s Labyrinth<\/em>\u00a0to achieve a comparable result has been painstaking. \u201cIt is taking many months because it has to be very carefully calibrated. You don\u2019t want to overdo it. You don\u2019t want to underdo it. The separation of elements has to be really carefully done for it to pop.\u201d The 3D, he noted, \u201cis gonna take us a lot of many more months to finish.\u201d<\/p>\n

\n\tOne reason the film continues to find new audiences, del\u202fToro has come to understand, is structural rather than cultural. Unlike most of his other work,\u00a0Pan\u2019s Labyrinth<\/em>\u00a0does not age alongside its fans, but finds purchase with each new generation.<\/p>\n

\n\t\u201cIf I talk to somebody that likes\u00a0Hellboy<\/em>\u00a0or\u00a0Blade<\/em>, they\u2019re 20 years older than when I launched it,\u201d he says. \u201cBut if you talk to someone that loves\u00a0Pan\u2019s Labyrinth<\/em>, most of the time you get a bunch of them are young people. For some reason it connects with the strength of being young, when the world is telling you that you\u2019re wrong and you know that you\u2019re right. I wanted to put it out in the world in a big way so that I can keep connecting with the spirits that remain young.\u201d\u00a0<\/p>\n

\n\tHe also has broader convictions about the value of bringing restored films back to cinemas. \u201cI think the future of theatrical is a mixture of reissues and new movies,\u201d he says. \u201cThe European model of the art house that exists very much enmeshed in the distribution and exhibition system \u2014 it\u2019s such an interesting model, and it doesn\u2019t quite get embraced outside of Europe, but I think it\u2019s very promising.\u201d He reaches back to his own filmgoing past: \u201cI would see the Hammer horror films opening weekend, and then three years later they were back in a double program or something. And it was always great \u2014 you wanted to revisit them. You put\u00a0Road Warrior<\/em>\u00a0(1981) out there on a big screen, and I\u2019m there. You put\u00a0The Devils\u00a0<\/em>(1971) by Ken Russell in theaters, I\u2019m there.\u201d<\/p>\n

\n\tTwenty years after the longest standing ovation in Cannes history, del Toro is still making the same arguments he articulated in\u00a0Pan\u2019s Labyrinth<\/em>: ghat imagination is not a luxury, and that we have to resist giving in to fascism, to fear, to the idea that human creativity is replaceable.<\/p>\n

\n\t\u201cWe live in times where they tell us that what we are facing is so formidable that it is useless to resist, and that art can be made by a fucking app,\u201d he told the Cannes crowd ahead of the screening. \u201cI feel [that] like the girl Ofelia in\u00a0Pan\u2019s Labyrinth<\/em>, we can hope to leave a mark. If we can put our faith against their faith, and our strength against their strength, there is hope. We have to give in to one of two forces. We can give in to love. We can give in to fear. Never, never, never give in to fear.\u201d\u00a0<\/p>\n

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Guillermo del Toro returns to the festival with a restored version of his masterpiece \u2014 and a message that has never felt more urgent.<\/p>\n","protected":false},"author":1,"featured_media":90,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[8,82,2,83,84],"class_list":["post-91","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-cannes-2026","tag-guillermo-del-toro","tag-international","tag-oscars","tag-pans-labyrinth"],"yoast_head":"\nThe Night\u00a0\u2018Pan\u2019s Labyrinth\u2019\u00a0Changed Cannes Forever - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=91\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Night\u00a0\u2018Pan\u2019s Labyrinth\u2019\u00a0Changed Cannes Forever - 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