{"id":192937,"date":"2025-09-02T01:59:09","date_gmt":"2025-09-02T01:59:09","guid":{"rendered":"https:\/\/www.europesays.com\/us\/192937\/"},"modified":"2025-09-02T01:59:09","modified_gmt":"2025-09-02T01:59:09","slug":"guillermo-del-toros-frankenstein-eyes-oscars-with-industry-support","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/192937\/","title":{"rendered":"Guillermo del Toro’s “Frankenstein” Eyes Oscars With Industry Support"},"content":{"rendered":"

\n\tPeople love Guillermo del Toro<\/a>, and that\u2019s not hyperbole.<\/p>\n

\n\tHollywood\u2019s affection for the Oscar-winning auteur goes far beyond mere admiration. The Mexican filmmaker, who won best picture and director for \u201cThe Shape of Water\u201d in 2017, has become one of the industry\u2019s most beloved figures. His presence in any Oscar race is never just about the work he presents on screen \u2014 it\u2019s about the depth of trust and loyalty he inspires in colleagues, craftspeople and actors alike. That goodwill may be key to propelling his latest opus, \u201cFrankenstein<\/a>,\u201d into this year\u2019s Oscar conversation.<\/p>\n

\n\tAfter debuting at Venice, the gothic horror film adapted from Mary Shelley\u2019s classic novel held two surprise screenings at the Telluride Film Festival<\/a> on Sunday night. The 9:30 p.m. showing at the Werner Herzog Theatre and 10 p.m. screening at the Palm \u2014 the festival\u2019s two largest venues \u2014 both sold out, turning away patrons. Each screening was introduced by the film\u2019s star, Oscar Isaac, who rushed to the festival from Venice just 24 hours earlier, before leaving Colorado on Monday morning to return to Italy for the premiere of his other new film, \u201cThe Hand of Dante,\u201d directed by Julian Schnabel.<\/p>\n

\n\tThe film\u2019s reception has been divisive, currently sitting at 77% on Rotten Tomatoes. Oftentimes, this is par for the course with any new del Toro project.<\/p>\n

\n\tIt wouldn\u2019t be the first time del Toro\u2019s name carried a film beyond its presumed limitations. In 2021, \u201cNightmare Alley,\u201d his lush, noir-inspired vision, muscled into the best picture lineup despite its dark tone and modest box office returns. With three additional technical nominations, it proved the Academy\u2019s appreciation for del Toro transcended genre or commercial appeal.<\/p>\n

\n\tHe followed with his animated \u201cPinocchio\u201d in 2022, winning the animated feature Oscar.<\/p>\n

\n\t\u201cFrankenstein\u201d could follow a similar trajectory, with opportunities across multiple craft categories. The film\u2019s gothic world practically demands recognition in production design, costume design and cinematography, while the brutal elegance of its sound and makeup work command attention. Add Alexandre Desplat\u2019s original score \u2014 a frequent Oscar magnet \u2014 and the film is primed for strong below-the-line support.<\/p>\n

\n\tWhen a film garners that type of technical recognition, with 10 available slots for best picture, a nomination in the top category comes within reach. Notably, Robert Eggers\u2019 lavish horror take on \u201cNosferatu\u201d managed four nominations, but missed the top race last year.<\/p>\n

\t\t\t\"\"<\/p>\n

\t\t\t\t\tFrankenstein. Christophe Waltz as Harlander in \u2018Frankenstein.\u2019 Cr. Ken Woroner\/Netflix \u00a9 2025.
\n\t\t\t\t\t\t\tKen Woroner\/Netflix<\/p>\n

\n\tThe performances offer another layer of intrigue. Jacob Elordi, unrecognizable as the creature, moves through the role with balletic grace, embodying the tragic soul of Mary Shelley\u2019s 200-year-old story. Christoph Waltz, already a two-time winner, delivers another commanding turn in his brief screen time.<\/p>\n

\n\tMeanwhile, Isaac, playing mad scientist Viktor Frankenstein, re-emerges after a three-year film absence, reminding Hollywood to put this guy in more movies. For an actor egregiously overlooked twice for towering turns in \u201cInside Llewyn Davis\u201d and \u201cA Most Violent Year,\u201d his hard-rocker take here feels like a career recalibration, even if the crowded race may leave him outside looking in. Perhaps his upcoming role in \u201cThe Hand of Dante\u201d will strengthen his momentum.<\/p>\n

\n\tYet obstacles remain. At 150 minutes and unflinching in its gore, \u201cFrankenstein\u201d asks voters to confront familiar material presented with uncompromising intensity. The Academy has historically been reluctant to reward horror-driven stories at the ballot\u2019s top, regardless of artistry. Still, del Toro\u2019s unique blend of empathy and spectacle has broken barriers before.<\/p>\n

\n\tThe truth is, it\u2019s not whether voters \u201clike\u201d Guillermo del Toro \u2014 it\u2019s that they trust, adore and utterly love the passion of one of cinema\u2019s most vital champions. In an unpredictable year where sentiment and legacy matter as much as box office and reviews, \u201cFrankenstein\u201d could find its place in the best picture lineup if Netflix can craft the right campaign. Notably, the streamer is juggling many other hopefuls such as Noah Baumbach\u2019s \u201cJay Kelly\u201d and Kathryn Bigelow\u2019s \u201cA House of Dynamite.\u201d<\/p>\n

\n\tLet\u2019s see if they can fall in love with the monster, too.<\/p>\n","protected":false},"excerpt":{"rendered":"People love Guillermo del Toro, and that\u2019s not hyperbole. Hollywood\u2019s affection for the Oscar-winning auteur goes far beyond…\n","protected":false},"author":3,"featured_media":192938,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[171,65100,58203,15801,104193,67,132,68],"class_list":{"0":"post-192937","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment","8":"tag-entertainment","9":"tag-frankenstein","10":"tag-guillermo-del-toro","11":"tag-oscars","12":"tag-telluride-film-festival","13":"tag-united-states","14":"tag-unitedstates","15":"tag-us"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/115132233434831230","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/192937","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=192937"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/192937\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/192938"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=192937"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=192937"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=192937"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}