Most contemporary films are infected with some degree of symbol-erosion. A case in point is the Spanish language Pan’s Labyrinth (El laberinto del fauno, 2006), by the Mexican film-maker Guillermo del Toro, whose previous work includes Hellboy and Backbone of the Devil, films that draw on strange fiction, fantasy, and war themes. Pan’s Labyrinth is particularly interesting for its integration of fairy-tale, classical myth, horror, and political propaganda. Profoundly beautiful in parts, it is graphically brutal and subtly anti-Christian in its use of symbols. It won several international awards and three Academy awards and was listed in the top ten favorite films of many film critics.