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Changed line(s) 13 (click to see context) from:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages ([[{{Foreshadowing}} forming a uterus-shaped stain to boot]]), then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes [[PrimalFear such natural fear]] about [[DeathByChildbirth the potential dangers of pregnancy/childbirth]], especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... She seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it can and ''does'' really happen.
to:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages ([[{{Foreshadowing}} forming a uterus-shaped stain to boot]]), then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes [[PrimalFear such natural fear]] about [[DeathByChildbirth the potential dangers of pregnancy/childbirth]], especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... She seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it can and [[spoiler: ''does'' really happen.happen]].
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* Vidal calmly shooting Ophelia, then her calm reaction to it, before collapsing
to:
* Vidal calmly shooting Ophelia, [[spoiler: Ophelia]], then her calm reaction to it, before collapsingcollapsing.
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Changed line(s) 16 (click to see context) from:
* Vidal's [[spoiler:public 'execution' with the bullet beneath the eye. Though admittedly for a sizable amount of the viewers it was a really cathartic and satisfying experience.]]
to:
* Vidal's [[spoiler:public 'execution' with the execution by way of a bullet beneath in the eye. face. Though admittedly for a sizable amount of the viewers it was a really cathartic and ''extremely'' satisfying experience.at the same time, it's also graphic and realistic in a distressingly banal way: one of Vidal's eyes rolls up and wells with blood and the other stays fixed in horror.]]
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Changed line(s) 13 (click to see context) from:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages ([[{{Foreshadowing}} Forming a uterus-shaped stain to boot]]), then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes [[PrimalFear such natural fear]] about [[DeathByChildbirth the potential dangers of pregnancy/childbirth]], especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... She seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it can and ''does'' really happen.
to:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages ([[{{Foreshadowing}} Forming forming a uterus-shaped stain to boot]]), then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes [[PrimalFear such natural fear]] about [[DeathByChildbirth the potential dangers of pregnancy/childbirth]], especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... She seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it can and ''does'' really happen.
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* Vidal calmly shooting Ophelia, then her calm reaction to it, before collapsing
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Changed line(s) 16 (click to see context) from:
* Vidal's [[spoiler:public 'execution' with the bullet beneath the eye.]]
to:
* Vidal's [[spoiler:public 'execution' with the bullet beneath the eye. Though admittedly for a sizable amount of the viewers it was a really cathartic and satisfying experience.]]
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Changed line(s) 10 (click to see context) from:
** When Ofelia is all safe in her room after the foro closes, the last pound sound on the door, implying he's still trying to get her.
to:
** When Ofelia is all safe in her room after the foro door closes, the last pound sound on the door, implying he's still trying to get her.
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** When Ofelia is all safe in her room after the foro closes, the last pound sound on the door, implying he's still trying to get her.
Deleted line(s) 11 (click to see context) :
** When Ofelia is all safe in her room after the foro closes, the last pound sound on the door, implying he's still trying to get her.
Changed line(s) 13 (click to see context) from:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes [[PrimalFear such natural fear]] about [[DeathByChildbirth the potential dangers of pregnancy/childbirth]], especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... She seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it can and ''does'' really happen.
to:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, pages ([[{{Foreshadowing}} Forming a uterus-shaped stain to boot]]), then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes [[PrimalFear such natural fear]] about [[DeathByChildbirth the potential dangers of pregnancy/childbirth]], especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... She seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it can and ''does'' really happen.
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** Her DeathByChildbirth is a cruel inevitability on re-watching, especially for people who are only used to the media's usual CleanPrettyChildbirth. She spends the movie in a clearly difficult pregnancy, and her hemorrhaging means she was hanging by a thread until Ofelia gets the mandrake from the Faun. And then Carmen finds the mandrake under her bed, gets upset at yet another of Ofelia's fantasy-trips, [[spoiler: and throws the mandrake in the fireplace to prove that magic isn't real]]. [[OhCrap Her screams of pain are terrifying.]]
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Changed line(s) 6 (click to see context) from:
** The fact that there were so many shots of the dropped chalk has left more than one person terrified that the Pale Man would use it on his side to make a door into Ophelia's room and [[FridgeHorror come after her while she was sleeping.]]
to:
** The fact that there were so many shots of the dropped chalk has left more than one person terrified that the Pale Man would use it on his side to make a door into Ophelia's room and [[FridgeHorror come after her while she was sleeping.]]sleeping]].
Changed line(s) 9,11 (click to see context) from:
** The horrific and unneccessary demise of two of Ofelia's three fairy guides.
* The scene in which Vidal [[spoiler: beats a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse; instead, he just tells his men to be more thorough in the future ''before coming to bother him''.
** When Ofelia is all safe in her room after the foro closes, the last pound sound on the door, implying he's still trying to get her
* The scene in which Vidal [[spoiler: beats a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse; instead, he just tells his men to be more thorough in the future ''before coming to bother him''.
** When Ofelia is all safe in her room after the foro closes, the last pound sound on the door, implying he's still trying to get her
to:
** The horrific and unneccessary unnecessary demise of two of Ofelia's three fairy guides.
guides.
* The scene in which Vidal[[spoiler: beats [[spoiler:beats a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the [[spoiler:the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse; instead, he just tells his men to be more thorough in the future ''before coming to bother him''.
** When Ofelia is all safe in her room after the foro closes, the last pound sound on the door, implying he's still trying to getherher.
* The scene in which Vidal
** When Ofelia is all safe in her room after the foro closes, the last pound sound on the door, implying he's still trying to get
Changed line(s) 13,15 (click to see context) from:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes [[PrimalFear such natural fear]] about [[DeathByChildbirth the potential dangers of pregnancy/childbirth]], especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it can and ''does'' really happen.
* The NotSoDifferent[=/=]IronicEcho of the rebels executing all of Vidal's wounded men after rescuing Mercedes, [[PayEvilUntoEvil just as Vidal had done to their side earlier.]]
* Vidal's [[spoiler: public 'execution' with the bullet beneath the eye]].
* The NotSoDifferent[=/=]IronicEcho of the rebels executing all of Vidal's wounded men after rescuing Mercedes, [[PayEvilUntoEvil just as Vidal had done to their side earlier.]]
* Vidal's [[spoiler: public 'execution' with the bullet beneath the eye]].
to:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes [[PrimalFear such natural fear]] about [[DeathByChildbirth the potential dangers of pregnancy/childbirth]], especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... she She seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it can and ''does'' really happen.
* TheNotSoDifferent[=/=]IronicEcho NotSoDifferent / IronicEcho of the rebels executing all of Vidal's wounded men after rescuing Mercedes, [[PayEvilUntoEvil just as Vidal had done to their side earlier.]]
earlier]].
* Vidal's[[spoiler: public [[spoiler:public 'execution' with the bullet beneath the eye]].eye.]]
* The
* Vidal's
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** When Ofelia is all safe in her room after the foro closes, the last pound sound on the door, implying he's still trying to get her
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* There's a lot of violence, which is made even more disturbing when contrasted with the protagonist being an innocent child caught in many, MANY predicamenys.
to:
* There's a lot of violence, which is made even more disturbing when contrasted with the protagonist being an innocent child caught in many, MANY predicamenys.predicaments.
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Changed line(s) 10 (click to see context) from:
* The scene of the fascist captain [[spoiler: beating a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse; instead, he just tells his men to be more thorough in the future ''before coming to bother him''.
to:
* The scene of the fascist captain in which Vidal [[spoiler: beating beats a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse; instead, he just tells his men to be more thorough in the future ''before coming to bother him''.
Changed line(s) 13 (click to see context) from:
* The NotSoDifferent / IronicEcho of the rebels unnecessarily shooting all of Vidal's wounded men after rescuing Mercedes, [[PayEvilUntoEvil just as Vidal had done to their side earlier.]]
to:
* The NotSoDifferent / IronicEcho NotSoDifferent[=/=]IronicEcho of the rebels unnecessarily shooting executing all of Vidal's wounded men after rescuing Mercedes, [[PayEvilUntoEvil just as Vidal had done to their side earlier.]]
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Changed line(s) 4 (click to see context) from:
* There's a lot of violence, which is made even more disturbing when contrasted with the protagonist being an innocent child.
to:
* There's a lot of violence, which is made even more disturbing when contrasted with the protagonist being an innocent child.child caught in many, MANY predicamenys.
Changed line(s) 8,9 (click to see context) from:
** Ofelia looks up at the ceiling of the Pale Man's lair, and sees murals of the creature skewering and eating babies. Note, [[NothingIsScarier we never ''see'']] the Pale Man eat a child, but this bit is enough to set up what kind of monster we're dealing with.
** The horrific and unneccessary demise of two of Ofelia's three fairy guides. Why did she have to eat the grapes?
** The horrific and unneccessary demise of two of Ofelia's three fairy guides. Why did she have to eat the grapes?
to:
** Ofelia looks up at the ceiling of the Pale Man's lair, and sees murals of the creature skewering and eating babies. Note, [[NothingIsScarier we never ''see'']] SEE]] the Pale Man eat a child, but this bit is enough to set up what kind of monster we're dealing with.
** The horrific and unneccessary demise of two of Ofelia's three fairy guides.Why did she have to eat the grapes?
** The horrific and unneccessary demise of two of Ofelia's three fairy guides.
Changed line(s) 12 (click to see context) from:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes such natural fear about the dangers of pregnancy/childbirth, especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it really happens.
to:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes [[PrimalFear such natural fear fear]] about [[DeathByChildbirth the potential dangers of pregnancy/childbirth, pregnancy/childbirth]], especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it can and ''does'' really happens.happen.
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Changed line(s) 12 (click to see context) from:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help...It just evokes such natural fear about the dangers of pregnancy/childbirth, especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it really happens.
to:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her 11-year-old daughter is the only one around to get help... It just evokes such natural fear about the dangers of pregnancy/childbirth, especially at home, in a time when medicine wasn't what it is now, and in an environment where the man of the house is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it really happens.
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Changed line(s) 6,8 (click to see context) from:
** The fact that there were so many shots of the dropped chalk has left more than one person terrified that the Pale Man would use it on his side to make a door into Ophelia's room and come after her while she was sleeping.
** The pile of shoes. That's where the fantastic horror becomes as real as the military violence, because you've seen images like that from the Holocaust.
** Ofelia looks up at the ceiling of the Pale Man's lair, and sees murals of the creature skewering and eating babies. Note, we never ''see'' the Pale Man eat a child, but this bit is enough to set up what kind of monster we're dealing with.
** The pile of shoes. That's where the fantastic horror becomes as real as the military violence, because you've seen images like that from the Holocaust.
** Ofelia looks up at the ceiling of the Pale Man's lair, and sees murals of the creature skewering and eating babies. Note, we never ''see'' the Pale Man eat a child, but this bit is enough to set up what kind of monster we're dealing with.
to:
** The fact that there were so many shots of the dropped chalk has left more than one person terrified that the Pale Man would use it on his side to make a door into Ophelia's room and [[FridgeHorror come after her while she was sleeping.
sleeping.]]
** [[DoesThisRemindYouOfAnything The pile ofshoes. shoes.]] That's where the fantastic horror becomes as real as the military violence, because you've seen images like that from the Holocaust.
** Ofelia looks up at the ceiling of the Pale Man's lair, and sees murals of the creature skewering and eating babies. Note, [[NothingIsScarier we never''see'' ''see'']] the Pale Man eat a child, but this bit is enough to set up what kind of monster we're dealing with.
** [[DoesThisRemindYouOfAnything The pile of
** Ofelia looks up at the ceiling of the Pale Man's lair, and sees murals of the creature skewering and eating babies. Note, [[NothingIsScarier we never
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Editing.
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* Even though he's there to aid Ofelia, the Faun himself is pretty creepy. And that's not counting when he gets ''angry''.
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Editing.
Changed line(s) 10 (click to see context) from:
* The scene of the fascist captain [[spoiler: beating a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse (then casually hands over the rabbits to his wife for stew).
to:
* The scene of the fascist captain [[spoiler: beating a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse (then casually hands over remorse; instead, he just tells his men to be more thorough in the rabbits future ''before coming to his wife for stew).bother him''.
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Editing.
Added DiffLines:
** Ofelia looks up at the ceiling of the Pale Man's lair, and sees murals of the creature skewering and eating babies. Note, we never ''see'' the Pale Man eat a child, but this bit is enough to set up what kind of monster we're dealing with.
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Changed line(s) 9 (click to see context) from:
* The scene of the fascist captain [[spoiler: beating a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse.
to:
* The scene of the fascist captain [[spoiler: beating a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse.remorse (then casually hands over the rabbits to his wife for stew).
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Changed line(s) 12 (click to see context) from:
* The NotSoDifferent / IronicEcho of the rebels unnecessarily shooting all of Vidal's wounded men after rescuing Mercedes, just as Vidal had done to their side earlier.
to:
* The NotSoDifferent / IronicEcho of the rebels unnecessarily shooting all of Vidal's wounded men after rescuing Mercedes, [[PayEvilUntoEvil just as Vidal had done to their side earlier.]]
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Deleted line(s) 14 (click to see context) :
* The faun itself. There's just something about its disjointed shuffling walk, its facial expressions, and its warped voice. And, of course, the creep-tastic way it interacts with Ofelia ... who is a helpless and scared little girl.
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* The frog regurgitating its insides to reveal the key.
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Changed line(s) 2,3 (click to see context) from:
[[caption-width-right:350:Ofelia shouldn't have eaten those grapes...]]
to:
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Changed line(s) 14 (click to see context) from:
* The faun itself. There's just something about it's disjointed shuffling walk, its facial expressions, its warped voice. And, of course, the creep-tastic way it interacts with Ofelia ... who is a helpless and scared little girl.
to:
* The faun itself. There's just something about it's its disjointed shuffling walk, its facial expressions, and its warped voice. And, of course, the creep-tastic way it interacts with Ofelia ... who is a helpless and scared little girl.
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Changed line(s) 11 (click to see context) from:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her eleven-year-old daughter is the only one around to get help...It just evokes such natural fear about the dangers of pregnancy/childbirth, especially at home, in a time when medicine wasn't what it is now, and in an environment where [[CompleteMonster the man of the house]] is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it really happens.
to:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her eleven-year-old 11-year-old daughter is the only one around to get help...It just evokes such natural fear about the dangers of pregnancy/childbirth, especially at home, in a time when medicine wasn't what it is now, and in an environment where [[CompleteMonster the man of the house]] house is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it really happens.
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Changed line(s) 11 (click to see context) from:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her eleven-year-old daughter is the only one around to get help... I don't know, it just evokes such natural fear about the dangers of pregnancy/childbirth, especially at home, in a time when medicine wasn't what it is now, and in an environment where [[CompleteMonster the man of the house]] is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it really happens.
to:
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her eleven-year-old daughter is the only one around to get help... I don't know, it It just evokes such natural fear about the dangers of pregnancy/childbirth, especially at home, in a time when medicine wasn't what it is now, and in an environment where [[CompleteMonster the man of the house]] is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it really happens.
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Changed line(s) 14 (click to see context) from:
to:
* The faun itself. There's just something about it's disjointed shuffling walk, its facial expressions, its warped voice. And, of course, the creep-tastic way it interacts with Ofelia ... who is a helpless and scared little girl.
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** The horrific and unneccessary demise of two of Ofelia's three fairy guides. Why did she have to eat the grapes?
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[[quoteright:350:http://static.tvtropes.org/pmwiki/pub/images/pale-man_9417.jpg]]
[[caption-width-right:350:Ofelia shouldn't have eaten those grapes...]]
* There's a lot of violence, which is made even more disturbing when contrasted with the protagonist being an innocent child.
* The Pale Man.
** The fact that there were so many shots of the dropped chalk has left more than one person terrified that the Pale Man would use it on his side to make a door into Ophelia's room and come after her while she was sleeping.
** The pile of shoes. That's where the fantastic horror becomes as real as the military violence, because you've seen images like that from the Holocaust.
* The scene of the fascist captain [[spoiler: beating a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse.
* The capture of the stuttering rebel. His fear in that scene is palpable.
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her eleven-year-old daughter is the only one around to get help... I don't know, it just evokes such natural fear about the dangers of pregnancy/childbirth, especially at home, in a time when medicine wasn't what it is now, and in an environment where [[CompleteMonster the man of the house]] is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it really happens.
* The NotSoDifferent / IronicEcho of the rebels unnecessarily shooting all of Vidal's wounded men after rescuing Mercedes, just as Vidal had done to their side earlier.
* Vidal's [[spoiler: public 'execution' with the bullet beneath the eye]].
----
[[caption-width-right:350:Ofelia shouldn't have eaten those grapes...]]
* There's a lot of violence, which is made even more disturbing when contrasted with the protagonist being an innocent child.
* The Pale Man.
** The fact that there were so many shots of the dropped chalk has left more than one person terrified that the Pale Man would use it on his side to make a door into Ophelia's room and come after her while she was sleeping.
** The pile of shoes. That's where the fantastic horror becomes as real as the military violence, because you've seen images like that from the Holocaust.
* The scene of the fascist captain [[spoiler: beating a man to near death with a blunt object while the man's father is forced to watch, leaving him alive long enough to see his father shot down before him, and then finishing him off.]] And it turns out [[spoiler: the father and son actually ''were'' only hunting rabbits]], making their deaths completely unnecessary. Vidal still didn't show ''any'' signs of remorse.
* The capture of the stuttering rebel. His fear in that scene is palpable.
* The scene where Ofelia looks at the book in the bathroom and sees nothing but blood spreading over the pages, then (clearly terrified) opens the door into the bedroom to see her mother hemorrhaging. Something about so much blood on white bedsheets, and the way she cries and her eleven-year-old daughter is the only one around to get help... I don't know, it just evokes such natural fear about the dangers of pregnancy/childbirth, especially at home, in a time when medicine wasn't what it is now, and in an environment where [[CompleteMonster the man of the house]] is perfectly willing to let her die if she gives him a son first... she seems horribly vulnerable in a way that, like the realistically violent scenes, is worse because it really happens.
* The NotSoDifferent / IronicEcho of the rebels unnecessarily shooting all of Vidal's wounded men after rescuing Mercedes, just as Vidal had done to their side earlier.
* Vidal's [[spoiler: public 'execution' with the bullet beneath the eye]].
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