Anything with Guillermo del Toro’s name plastered across it piques my interest, even if he was just sitting back and being Producer. I love the color composition that toys with my emotions, the music uplifting my spirit or making me feel as downtrodden as the characters I see on-screen.
Laura gets adopted as a young child from an orphanage and returns years later with her husband (who bears a striking resemblance to Phil Collins) to buy the same mansion, weathered and creaky and creepy from time, so she can help out other unwanted children and “pay it forward” so to speak.
When she’s not preparing the mansion for its reopening she takes care of their son Simon, whom we find out early is also adopted and HIV-positive (ssh! Simon doesn’t know it, though!) I immediately found Simon adorable and wanted to play with him and his invisible friends. But unfortunately things turn mean and nasty -- Simon finds out Laura isn’t his biological mother -- and then things turn creepy as Simon disappears and Laura finds out more about the history of her beloved orphanage than she ever thought existed.
|Por qué los adultos nos mienten los niños?|
→ Seeing Pan’s Labyrinth before this put anything with del Toro’s name on a pretty high pedestal for me.
→ My “Everyone else loves it, why should I?” contrarian nature. I know, I’ll get over myself.
→ The quick conclusion and denouement didn’t make me emotional and was, I found, a little too mushy/predictable.
|During Horrorthon, I abandon all hope of a happy ending.|
The mystery of El Orfanato and where all Simon’s invisible friends come from is an interesting one to watch, one I would rewatch in the future in the company of friends to see if I catch any subtleties, but I’m not in any hurry.