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The historical backdrop of the 1930s serves as a stark contrast to Pinocchio’s innocence. By placing the story within Mussolini’s Italy, del Toro explores the dangers of blind obedience. The film draws a sharp parallel between Pinocchio, the "puppet" who wants to be a boy, and the soldiers of the regime, who are boys being forced to act like unthinking puppets. Through the character of the Podestà and the transformation of the "Pleasure Island" trope into a military youth camp, del Toro critiques the loss of individuality and the cruelty of war. In this context, Pinocchio’s refusal to follow rules becomes an act of noble rebellion rather than a character flaw.
Furthermore, the film’s treatment of death is both haunting and beautiful. Del Toro introduces a metaphysical realm governed by Death and the Wood Sprite, framing mortality as the very thing that gives life value. Unlike other versions where Pinocchio becomes a flesh-and-blood boy as a "reward," del Toro’s ending is more bittersweet. Pinocchio remains a wooden boy, but his experiences of loss, sacrifice, and grief grant him a soul far more real than any physical transformation could. The film concludes with a poignant reminder that while we all eventually "fade," the love we leave behind remains. The historical backdrop of the 1930s serves as
In conclusion, Guillermo del Toro’s Pinocchio is a technical and narrative triumph. Through its intricate stop-motion craftsmanship and its daring thematic shifts, it elevates a simple fairy tale into a complex allegory for the modern age. It teaches us that to be "real" is not to be perfect, but to be capable of love, loss, and the courage to remain oneself in a world that often demands conformity. It is a celebration of the "broken" and a masterpiece that resonates across generations. Through the character of the Podestà and the