People love Guillermo del Toro, and that’s not hyperbole.
Hollywood’s affection for the Oscar-winning auteur goes far beyond mere admiration. The Mexican filmmaker, who won best picture and director for “The Shape of Water” in 2017, has become one of the industry’s most beloved figures. His presence in any Oscar race is never just about the work he presents on screen — it’s 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, “Frankenstein,” into this year’s Oscar conversation.
After debuting at Venice, the gothic horror film adapted from Mary Shelley’s classic novel held two surprise screenings at the Telluride Film Festival on Sunday night. The 9:30 p.m. showing at the Werner Herzog Theatre and 10 p.m. screening at the Palm — the festival’s two largest venues — both sold out, turning away patrons. Each screening was introduced by the film’s 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, “The Hand of Dante,” directed by Julian Schnabel.
The film’s reception has been divisive, currently sitting at 77% on Rotten Tomatoes. Oftentimes, this is par for the course with any new del Toro project.
It wouldn’t be the first time del Toro’s name carried a film beyond its presumed limitations. In 2021, “Nightmare Alley,” 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’s appreciation for del Toro transcended genre or commercial appeal.
He followed with his animated “Pinocchio” in 2022, winning the animated feature Oscar.
“Frankenstein” could follow a similar trajectory, with opportunities across multiple craft categories. The film’s 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’s original score — a frequent Oscar magnet — and the film is primed for strong below-the-line support.
When 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’ lavish horror take on “Nosferatu” managed four nominations, but missed the top race last year.
Frankenstein. Christophe Waltz as Harlander in ‘Frankenstein.’ Cr. Ken Woroner/Netflix © 2025.
Ken Woroner/Netflix
The 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’s 200-year-old story. Christoph Waltz, already a two-time winner, delivers another commanding turn in his brief screen time.
Meanwhile, 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 “Inside Llewyn Davis” and “A Most Violent Year,” 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 “The Hand of Dante” will strengthen his momentum.
Yet obstacles remain. At 150 minutes and unflinching in its gore, “Frankenstein” asks voters to confront familiar material presented with uncompromising intensity. The Academy has historically been reluctant to reward horror-driven stories at the ballot’s top, regardless of artistry. Still, del Toro’s unique blend of empathy and spectacle has broken barriers before.
The truth is, it’s not whether voters “like” Guillermo del Toro — it’s that they trust, adore and utterly love the passion of one of cinema’s most vital champions. In an unpredictable year where sentiment and legacy matter as much as box office and reviews, “Frankenstein” 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’s “Jay Kelly” and Kathryn Bigelow’s “A House of Dynamite.”
Let’s see if they can fall in love with the monster, too.
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