People like Guillermo del Toro, and it’s not a hyperbole.
Hollywood’s affection for the Oscar-winning author goes far beyond simple admiration. The Mexican filmmaker, who won the best film and the director of “The Shape of Water” in 2017, has become one of the most popular figures in the industry. His presence in an Oscar breed never concerns the work he presents on the screen – it is the depth of confidence and loyalty that he inspires in colleagues, craftsmen and actors. This good will can be essential to propel his latest opus, “Frankenstein”, in this year’s Oscars conversation.
After making his debut in Venice, the Gothic horror film adapted to the classic novel by Mary Shelley held two surprise projections at the Film Film Film Film Sunday evening. The projection of 9:30 p.m. at the Werner Herzog Theater and 10 p.m. at the Palm screening – the two largest sites of the festival – both sold, refusing customers. Each projection was presented by the film star, Oscar Isaac, who rushed to the festival from Venice 24 hours earlier, before leaving Colorado on Monday morning to return to Italy for the first of his other new film, “The Hand of Dante”, directed by Julian Schnabel.
The reception of the film was divided, currently seated 77% on Rotten Tomatoes. Often, this is normal for the course with any new Del Toro project.
It would not be the first time that the name of Del Toro had a film beyond his alleged limitations. In 2021, “Nightmare Alley”, his lush vision and inspired by black, muscular in the range of best films despite its dark tone and modest return to the box office. With three additional technical appointments, this has proven the appreciation of the academy for the gender or the transcended commercial call of Del Toro.
He followed with his “Pinocchio” animated in 2022, winning the animated feature Oscar.
“Frankenstein” could follow a similar trajectory, with opportunities in several categories of crafts. The Gothic world of the film practically requires recognition of the design of production, the design of costumes and cinematography, while the brutal elegance of its sound and makeup pays attention. Add the original partition of Alexandre Desplat – a magnet with frequent Oscars – and the film is ready for a strong support below the line.
When a film obtains this type of technical recognition, with 10 slots available for the best film, an appointment in the upper category is available. In particular, the sumptuous horror of Robert Eggers on “Nosferatu” succeeded in four nominations, but missed the first race last year.
Frankenstein. Christophe Waltz as Harlander in “Frankenstein”. Cr. Ken Woroner / Netflix © 2025.
Ken Woroner / Netflix
Performance offers another layer of intrigue. Jacob Elardi, unrecognizable as a creature, passes through the role with Balotic Grace, embodying the tragic soul of the history of 200 years by Mary Shelley. Christoph Waltz, already twice winner, offers another dominant turn in his short screen time.
Meanwhile, Isaac, playing crazy scientist Viktor Frankenstein, re -emerge after a three -year film, reminding Hollywood to put this type in more films. For a deliberately neglected actor twice for imposing turns in “Inside Llewyn Davis” and “a most violent year”, his hard rocker taking looks like a career recalibration, even if the crowded breed can leave it outside.
However, obstacles remain. At 150 minutes and flawless in Son Gore, “Frankenstein” asks voters to confront familiar equipment presented with an intensity without compromise. The Academy historically hesitated to reward the stories focused on the horror at the top of the ballot, regardless of artistic talent. However, the unique mixture of empathy and Del Toro show has already broken the barriers.
The truth is that it is not if voters “like” Guillermo del Toro – it is that they trust, love and completely like the passion of one of the most vital champions of cinema. During an unpredictable year when feeling and inheritance have as much as the box office and criticism, “Frankenstein” could find its place in the range of best films if Netflix can develop the right campaign. In particular, the streamer juggles with many other hopes such as “Jay Kelly” by Noah Baumbach and “A House of Dynamite” by Kathryn Bigelow.
Let’s see if they can also fall in love with the monster.
