There’s a moment near the beginning of Guillermo del Toro’s newest film when Ofelia’s face lights up with a look of wonder and terror all at the same time that tells you that Pan’s Labyrinth isn’t going to be a movie where you know quite what to expect. And for that, I am thankful, because this sense of bewilderment and amazement that permeates from the film makes it quite easily the best movie to be released in 2006.

The line to see the press screening of this film at TIFF was so long that members of the media were being turned away. The critical buzz that this movie — billed as a girl’s fantastical adventure through a land hidden inside a hedge maze — was garnering ensured that everyone walked in with high expectations, and luckily it didn’t disappoint. Pan’s Labyrinth is much more than just a film about Ofelia’s magical release; instead, it is a film that brings a sense of amazement to the horrors of the end of the War, without making light of the situation. Around Ofelia, freedom fighters are being caught and slaughtered by the Spanish regiment (led by Ofelia’s father) while everyday commoners are forced to live their lives as if nothing is happening.

The acting in Pan’s Labyrinth is superb, the writing is phenomenally simple, and the effects are mind-blowing in a very fantastical way. The highlight of the film is by far the haunting score that still resonates inside my head, coupled with images of hope and horror all juxtaposed in a well-composed yet intensely uncomplicated way. Do not miss this film.