Ofelia encounters a strange insect looking like a praying mantis. It shudders in and out of frame, and we're reminded of Del Toro's affection for odd little creatures (as in "Cronos," with its deep-biting immortality bug). The insect, friendly and insistent, seems to her like a fairy, and when she says so, the bug becomes a vibrating little man who leads her into a labyrinth and thus to her first fearsome meeting with the faun (Doug Jones, who specializes in acting inside bizarre costumes). Some viewers have confused the faun with Pan, but there is no Pan in the picture and the international title translates as "Labyrinth of the Faun."
Del Toro moves between many of these scenes with a moving foreground wipe -- an area of darkness, or a wall or a tree that wipes out the military and wipes in the labyrinth, or vice versa. This technique insists that his two worlds are not intercut, but live in edges of the same frame. He portrays most of the mill interiors in a cold blue-grey slate, but introduces life tones into the faces of characters we favor, and into the fantasy world. It is no coincidence that the bombs of the rebels introduce red and yellow explosions into the monotone world they attack.
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In Jim Henson's second dark fantasy movie, a young girl makes a foolish wish and loses her baby brother. To get him back, she must reach the goblin king's lair in the center of a labyrinth. Along the way, she meets new friends, overcomes strange obstacles, and re-evaluates what is most important in her life. 2351a5e196
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