Pan's Labyrinth Analysis

The dark fantasy film Pan’s Labyrinth is a fascinating example of creative story-telling. This film focuses on so many aspects between Ofelia’s imaginary world and the real world, including her stepfather fighting for the Francoist regime. This little girl is uprooted to a military outpost in Fascist-ruled Spain commanded by her new stepfather, the Captain. The reoccurring contrast between Ofelia’s world and her stepfathers world stood out to me, through elements of brutality, innocence, war, imagination, disobedience, and choice. The tests Ofelia must face are chilling and nightmarish, they mirror not just the cruelty of the battles between the army and the rebels, but equally the deep loss and insecurity which Ofelia faces. Del Toro brilliantly intertwines between the two stories, so that we easily follow the action in two worlds simultaneously.
The film brings together a lot of mis-en-scene
To juxtapose back to reality, since Vidal had decided to starve out the rebels by keeping all available food and medicine locked up in the mill's storeroom. Mercedes and Dr. Ferreiro are performing a task like Ofelia by secretly aiding the group of rebels hiding in the woods and endangering themselves in the process, because they must smuggle the goods silently in the middle of the night. Both are all too aware of the violence Vidal or the Pale Man inflicts upon those who disobey them.
The violence of the real world appears fully-shaped in the Pale Man, which juxtaposes Vidal's dining room and the “facelessness” of fascism. Del Toro designed the Pale Man like an old man who lost a lot of weight. It was like a concentration camp feeling, with shoes piled up in corner; this horrifying monster has all this food in front of it, but only eats innocent