Afinal sempre há filme de Natal

Do céu caiu uma estrela que nos trouxe música ao coração. Não é costume que um filme de Natal seja um filme de monstros, um filme de guerra, nem, verdade seja dita, um filme muito bom. El laberinto del fauno é tudo isso, e muito mais. É também um filme de fadas, um filme inteligente, maravilhoso, em suma. Acabei de o ver e, speechless, não me ocorre nada melhor do que transcrever estas linhas do Time Out:

To label Guillermo del Toro’s sublime new gothic fantasy 'Pan’s Labyrinth' ‘brutal’ and ‘bloody’ is surely prevaricating on behalf of a more hardcore horror audience at the expense of the plentiful nuance and honest-to-goodness drama of this lush fable. Of course, the picture does also unsheath a series of sucker-punch moments unlike anything seen in fantasy film for a good long while.
A simply told yet staggeringly layered tale of young Ofelia’s journey into the dark heart of the Spanish civil war under the auspices of one hell of a wicked stepfather, it’s not just the distressingly capricious landscape into which she retreats to find her true self which affects so deeply. There are more than a few utterly astonishing moments of the ‘beautiful, grotesque’ in both worlds, all as metaphorically apposite as anything else in the picture. But like the best filmmakers in the business, del Toro accomplishes his most effective non-fantasy sequences with little more than judicious cuts and sound. And how accomplished it is. This is simply the zenith of modern filmmaking by an artist at the very peak of his abilities. 'Pan's Labyrinth' is a small, contained and intimate ‘epic’, a brilliant companion piece to 'The Devil's Backbone' (and more importantly to 'Cronos') in its melding of horrors of the mind vs. horrors of real life and the place of myth and legend. With its awards-worthy cast, it's the exquisitely emotive fairy tale Shyamalan wishes he could make. One of the films of the decade.