Pan's Labyrinth: The Labyrinth of the Faun

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The winged creature that had been waiting for Ofelia in the column’s gaping mouth knew all of this. She knew many things, but she was not a Fairy—at least not in the sense we like to think of them. Only her master knew her true name, for in the Magic Kingdom to know a name was to own the being that carried it. Her mother hadn’t argued with him when he advised her to stay in bed for a few days. It was a huge wooden bed, with plenty of room for her and Ofelia to share. Her mother hadn’t been well at all since they’d come to this miserable place. Her forehead was wet with sweat, and pain etched fine lines into her beautiful face. Ofelia was worried, but it comforted her to watch the doctor’s calm hands prepare the draught.

Outside, some soldiers take Vidal to see two captives they found nearby. When he finds something in one of the men’s bags that says, “No God, no country, no master,” he dismisses it as “red propaganda,” as the older man insists that they are farmers and that he was only hunting rabbits. Abruptly, Vidal stabs the younger man repeatedly in the head and then shoots the older man several times. He looks through their things and finds there is a dead rabbit in the older man’s clothes, suggesting that he was telling the truth the whole time. Oh, we’ll be late!” Her mother sighed, pressing her handkerchief to her lips. “He will not like that.” The Faun smiled, for he noticed another rare quality in the old man’s face: faith. Faith in his art and in what it could do. And for the first time in many years the Faun dared to hope again. Vidal frowned. He hated anything interrupting his nightly ritual. “Come in!” he called, keeping his attention on the shiny workings of the watch.

Carmen is disappointed in Ofelia for dirtying the dress she gave her, and sends her to bed without supper. As Carmen leaves, the insect lands on the edge of the tub, and Ofelia tells it that she has procured the key and is ready to enter the labyrinth. Tell it to find her, Your Horned Highness,” the sculptor said. “I promise it will neither rest nor die before he does.” She bent her head to make herself small. Most men didn’t want a woman to be tall. Vidal was no exception.

The Fairy had disappeared, and when Ofelia stepped through the arch, it cast a cold shadow on her skin. Turn around! something in her warned. But she didn’t. Sometimes it is good to listen, sometimes it is not. Ofelia wasn’t sure she had a choice anyway. Her feet did the walking all by themselves. The corridor that opened behind the arch narrowed after just a few steps until Ofelia could touch the walls on either side simply by stretching out her arms. She dragged her hands over the withered stones while she kept walking. They were so cold despite the heat of the day. A few more steps and she reached a corner. Another corridor opened in front of her, leading left and then right toward another corner. Not only are the adults in Ofelia’s life trying to convince her to fit in more with the adult world, but they also represent the authoritarian government of Spain. Vidal, Carmen’s new husband, is a Falangist and is working to hunt down rebels from the war, those who are still fighting the Francoist regime. Thus, the contrast and tension between the fantastical world, which so fascinates the young Ofelia, and the real world, the world that her mother has entered into by marriage, is analogous to the tension between the rebels—those who dream of a better political future for Spain—and the Falangists—upholders of the authoritarian and fascist government. You'll meet her, she's very pretty, even though sometimes she's sad for many days at a time. You'll see, when she smiles, you'll love her." Ofelia At eight we detected movement in the northwest sector,” Garces reported as they crossed the yard. “Gunfire. Sergeant Bayona searched the area and captured the suspects.” Garces always talked as if he were dictating his words. The soldiers on guard duty had captured two rabbit hunters poaching past the curfew. Vidal was surprised that Garces had found that worth calling him, although all his officers knew how much he hated to be disturbed at such a late hour.

His voice was as warm as the blankets on the bed and Ofelia wondered why her mother hadn’t fallen in love with a man like the doctor. He reminded her of her late father. Just a little bit. The opening lines of the film set the stage for the fantastical world of the film. The faun tells us the story of Princess Moanna, who wandered out of the safety of the underworld and was subjected to the hardships of the world of the living. Food, medicine, we’ll store it all. Right here.” Vidal pointed at the spot that marked the mill. “We need to force them down from the hills. That way they’ll come to us.” And what about my son?” he asked. The child was all he cared about. A man was mortal without a son. Dr. Ferreira’s steps were as soft and careful as his voice. He stopped a short distance from the table.