Guillermo del Toro has a way of turning dark and fantastical worlds into something magical. His films often flip the script, making monsters the misunderstood heroes and humans the real villains. Over the years, he’s earned critical acclaim and a dedicated fan base, picking up Oscars for The Shape of Water and Pinocchio. Interestingly, much of his inspiration comes from unlikely sources, including Guillermo del Toro’s favorite Kubrick films, Barry Lyndon and Eyes Wide Shut—two movies that reveal a side of Kubrick not everyone appreciates.
In a 2015 interview with Little White Lies during the release of Crimson Peak, del Toro revealed that his favorite Kubrick films are two that often get overlooked: Barry Lyndon and Eyes Wide Shut. “I like the Kubrick that nobody likes,” he said, pointing out that these aren’t the iconic blockbusters like 2001: A Space Odyssey or The Shining. Instead, they’re quieter, more complex films that left a big mark on him.
Take Barry Lyndon (1975), for example. This period drama is known for its slow pace and stunning visuals, especially the famous candlelit scenes. While some critics found it too drawn out, del Toro was captivated. He studied the film’s use of natural light and its rich, detailed costumes to inspire the look of Crimson Peak. “I think the sense of space and time that Barry Lyndon exhibits is unique,” he explained, praising its ability to create a mood and draw viewers into its world.
Then there’s Eyes Wide Shut (1999), Kubrick’s final film, which faced a lot of confusion when it first came out. It was marketed as a steamy drama about Tom Cruise and Nicole Kidman, who were a real-life couple at the time, but it turned out to be something entirely different. The movie is more of a psychological mystery, exploring themes of desire and secrecy. While many critics didn’t know what to make of it, del Toro appreciated its eerie tone and haunting visuals.
You can see Kubrick’s influence in del Toro’s work, especially in the way he uses light and color to tell a story. The lavish sets and painterly style of Crimson Peak are clear nods to Barry Lyndon. Meanwhile, the dreamlike, unsettling atmosphere of Eyes Wide Shut can be felt in scenes from Pan’s Labyrinth and Pinocchio. Del Toro takes these elements and blends them with his own creativity, crafting worlds that feel both beautiful and haunting.
By embracing the less popular side of Kubrick, del Toro shows us how beauty can often be found in the unexpected. It’s a reminder that great art isn’t always the loudest or the most celebrated—it’s sometimes the quiet, overlooked pieces that leave the deepest impression.
