Guillermo del Toro’s Favorite Movies of All Time

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Ignacio Weil

Entertainment - July 11th 2025, 22:00 GMT+2

Cropped no rest for the wicked 2011 — No Rest for the Wicked (2011)

Set against a grim, unforgiving urban backdrop, this Spanish crime thriller punches hard with its morally complex narrative and raw execution. The film follows a disgraced police officer whose violent past comes back to haunt him, crafting a suspenseful descent into darkness. José Coronado delivers a gripping performance, grounding the film’s emotional weight with startling realism. Del Toro’s appreciation for this movie likely stems from its unflinching tone and layered character arcs – elements that echo in his own darker works. There’s a palpable tension in every scene, aided by a taut script and haunting cinematography. It’s not just a crime drama – it’s a study of guilt, redemption, and the blurred lines between justice and vengeance. | © Telecinco Cinema

Cropped arcane sorcerer 1996 — The Arcane Enchanter (1996)

An obscure but mesmerizing Italian horror gem, *The Arcane Enchanter* blends atmospheric dread with gothic storytelling in a way that surely appeals to del Toro’s sensibilities. The story follows a young seminarian drawn into the eerie world of occult rituals and alchemical secrets within a crumbling countryside villa. With subtle nods to Lovecraftian horror and European supernatural traditions, the film unfolds like a fever dream, as paranoia and the occult weave a chilling tapestry. The lead performances, particularly Stefano Dionisi’s portrayal of the inquisitive cleric, elevate the film beyond standard genre fare. There’s a handcrafted, almost analog charm in the film’s practical effects and shadowy lighting that del Toro, a known champion of tactile cinema, would undoubtedly admire. | © RAI Radiotelevisione Italiana

Cropped Fellinis Casanova 1976 — Fellini’s Casanova (1976)

More than just an adaptation of the infamous lover’s exploits, Federico Fellini’s take on *Casanova* transforms Giacomo Casanova into a melancholy figure adrift in a grotesque and surreal world. Donald Sutherland, nearly unrecognizable in the title role, delivers a performance marked by estrangement and detachment, emphasizing the character’s existential isolation. Visually extravagant and narratively dreamlike, the film is a masterclass in production design, perfectly aligning with del Toro’s passion for visual storytelling. Its theatrical sets and decadent costumes lend the movie a mythic quality, turning history into something fabled and haunting. It’s easy to see why del Toro would revere this film – it treats decadence with both admiration and critique, a duality he often explores in his own work. | © Produzioni Europee Associati (PEA)

Cropped the telephone box 1972 — The Telephone Box (1972)

Short in length but massive in impact, *The Telephone Box* is a chilling Spanish short film that turns an everyday setting into a surreal nightmare. Without relying on dialogue, it manages to create a claustrophobic and Kafkaesque sense of dread. José Luis López Vázquez stars as a man who innocently enters a public phone booth, only to find himself inexplicably trapped – what follows is a slow, inevitable descent into societal alienation. The film’s eerie atmosphere and darkly ironic ending reflect the same sensibilities that del Toro frequently infuses into his own narratives. Its simplicity is deceptive; beneath the surface lies a scathing critique of bureaucracy and indifference. This obscure classic showcases the power of visual storytelling to convey horror without a single word. | © Televisión Española

Cropped duel 1971 — Duel (1971)

Before *Jaws* and *E.T.*, Steven Spielberg made *Duel*, a nerve-wracking thriller that strips tension down to its most basic – and effective – form. The story follows a lone driver pursued by a faceless, relentless truck through barren highways, turning the mundane into something terrifying. Dennis Weaver's performance as the everyman spiraling into paranoia captures the fear of being hunted by an unseen force. It’s a minimalistic exercise in suspense, brilliantly paced and visually inventive despite its low budget. Del Toro, a longtime admirer of masterful tension and psychological horror, has praised how the film does so much with so little. Its gritty realism and primal terror make *Duel* a formative piece in the evolution of cinematic thrillers. | © Universal Television

Cropped nazarin 1959 — Nazarin (1959)

Luis Buñuel’s *Nazarin* is a profound exploration of faith, morality, and hypocrisy, set against the harsh realities of rural Mexico. Francisco Rabal plays Father Nazario, a devout priest whose attempts to live by Christ-like values repeatedly meet with misunderstanding and cruelty. The film’s stark realism is laced with Buñuel’s signature surreal touches, creating a tension between idealism and worldly corruption. Del Toro has often cited Buñuel as a towering influence, and it’s easy to see why: *Nazarin* challenges religious dogma while still valuing spiritual sincerity. The film doesn’t offer easy answers, instead forcing viewers to confront uncomfortable truths about human nature and societal judgment. | © Producciones Barbachano Ponce

Cropped il grido 1957 — Il Grido (1957)

Few directors capture existential despair as tenderly and painfully as Michelangelo Antonioni, and *Il Grido* is among his most emotionally resonant works. The film follows a working-class man, played by Steve Cochran, who wanders through the Italian countryside after the end of a long-term relationship. As he drifts from town to town, relationships and hope gradually erode, mirroring his internal disintegration. Antonioni’s signature long takes and bleak landscapes underscore a sense of detachment that del Toro has admired for its honesty and atmosphere. It’s a haunting meditation on loneliness and identity, told through quiet glances and empty roads rather than dramatic gestures. | © Cino Del Duca

Cropped strangers on a train 1951 — Strangers on a Train (1951)

One of Alfred Hitchcock’s most enduring thrillers, *Strangers on a Train* is a taut, stylish exploration of guilt and the dark side of chance encounters. Farley Granger and Robert Walker deliver unforgettable performances as two men whose fates entwine after a casual conversation about "crisscross" murders. Walker’s portrayal of the charming yet deeply disturbed Bruno Anthony gives the film its chilling edge. Del Toro, a known admirer of Hitchcock’s craftsmanship, has praised this film for its suspenseful pacing and moral ambiguity. The imagery – like the unforgettable carousel climax – lingers long after the credits roll, proving Hitchcock’s unmatched ability to turn a simple premise into a masterclass in tension. | © Warner Bros.

Cropped A Family Like Many Others 1949 — A Family Like Many Others (1949)

This poignant Mexican drama, directed by Alejandro Galindo, paints a vivid portrait of middle-class family life and the subtle shifts brought by modernity. The story centers on a conservative household upended by the arrival of a charismatic outsider, played by David Silva, who brings new ideas and challenges patriarchal authority. Marga López delivers a layered performance as the daughter torn between tradition and self-discovery. It’s a deeply human film, filled with emotional nuance and societal critique – qualities that no doubt resonate with del Toro’s own background and narrative themes. Quietly powerful, it captures the universal tension between old values and new aspirations. | © Clasa Films Mundiales

Cropped fallen angel 1945 — Fallen Angel (1945)

This noir classic by Otto Preminger dives into a world of manipulation, desperation, and lust. Dana Andrews stars as a drifter who gets caught between two women – one a sultry waitress played by Linda Darnell, the other a small-town heiress portrayed by Alice Faye. With shadowy cinematography and a morally grey protagonist, *Fallen Angel* embodies the seductive danger of noir at its peak. Del Toro has expressed admiration for how these films embraced ambiguity, painting characters in shades of gray rather than black and white. The film’s moody aesthetic and themes of deception and longing are all elements that have inspired del Toro’s own take on tragic romance and noir storytelling. | © 20th Century Fox

Cropped suspicion 1941 — Suspicion (1941)

Starring Joan Fontaine and Cary Grant, *Suspicion* plays with the audience’s expectations by casting one of Hollywood’s most charming leading men as a possibly murderous husband. Fontaine’s nuanced performance earned her an Academy Award, making her the first actress to win for a Hitchcock film. The tension builds around whether Grant’s character is genuinely loving or hiding sinister motives, and Hitchcock masterfully manipulates perception through lighting, framing, and music. Del Toro has often admired how suspense can emerge from suggestion rather than spectacle, and this film is a perfect example. It’s a slow-burning psychological thriller with an ending that continues to spark debate. | © RKO Radio Pictures

Cropped freaks 1932 — Freaks (1932)

A boundary-pushing film that still provokes to this day, *Freaks* turns what could have been exploitative into something deeply empathetic and human. Directed by Tod Browning, the film features actual circus performers with physical differences and centers their perspective rather than marginalizing them. What begins as a tale of trust and community turns into a revenge thriller when cruelty rears its head. Del Toro has frequently cited *Freaks* as a personal inspiration – its message that beauty and monstrosity can live within anyone is one of his core artistic beliefs. With unforgettable characters and an iconic final act, *Freaks* remains a vital piece of horror cinema history. | © Metro-Goldwyn-Mayer

Cropped greed — Greed (1924)

Erich von Stroheim’s *Greed* stands as one of the most ambitious and tragic stories in silent film history. Originally running over nine hours before being brutally cut, the remaining version still delivers a powerful blow. The film tells the story of McTeague and his descent into obsession, driven by money and betrayal. Gibson Gowland leads the cast with a raw, expressive performance that carries the narrative without spoken words. Del Toro, a lover of lost or altered cinematic treasures, has often highlighted *Greed* as an example of art compromised by commerce. Its final scene – two men locked in a death struggle in the desert – is among the most iconic in early cinema. | © Metro-Goldwyn Pictures

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Few filmmakers wear their love for cinema as passionately as Guillermo del Toro. Known for his darkly imaginative storytelling and visually rich worlds, del Toro often cites a diverse range of films – from cult classics to international masterpieces – as key influences on his work. But what are the movies that have truly shaped his cinematic journey?

This curated list of Guillermo del Toro’s favorite films was compiled in collaboration with Les Films du Camélia, on the occasion of the release of the new collector’s Blu-ray edition of Cronos – his groundbreaking 1993 debut feature. As you explore these selections, you’ll get a deeper sense of the films that have left a lasting mark on del Toro’s creative universe. Whether you’re a cinephile or a curious newcomer, this list is a must-read for anyone interested in the movies that inspire one of modern cinema’s most visionary directors.