There are many remarkable things about Guillermo del Toro’s The Shape of Water, but the one that struck me most was how it was shot on a miniscule budget — by Hollywood standards — of 19.5 million dollars. This is a beautiful-looking film with visually arresting scenes coloured in countless tones of green and blue, many of them involving Amphibious Man, an amphibious creature kidnapped from its habitat by the CIA and experimented upon to give the United States a leg up on the Russians during the Cold War.

Amphibious Man looks and feels more real than any creature I’ve seen in a Hollywood film in a while. This is in part due to long-time del Toro collaborator Doug Jones’ terrific performance, but mostly due to the excellent visual effects work. Watching in awe I recalled how unimpressive some of the effects and the main villain looked in Justice League despite the film having a budget of over 300 million dollars, and then here is a film with a fraction of those resources putting it to shame.

For instance, in Justice League, the scene involving Aquaman underwater was about as convincing as a full motion video from a video game. Yet here Amphibious Man moves, breathes and behaves so realistically underwater that you are left deeply immersed in the storytelling.

The Shape of Water is not only Guillermo del Toro’s best film since Pan’s Labyrinth but is one of the best films of the year

To be fair, when it comes to movie monsters, del Toro is simply a master. From the haunting Pale Man (Doug Jones) in Pan’s Labyrinth (2006) to the many freakish superheroes in the Hellboy films to the Kaijus in Pacific Rim (2013), the Mexican filmmaker is nearly peerless. Where he has been found wanting, though, is in the rest of it. Though his Spanish films have been very good, with the wonderfully melancholic Pan’s Labyrinth capturing the hearts of international audiences, his international work has been uneven at best; the Hellboy films were interesting, but the action, especially that involving CGI was subpar; Blade II (2002) looked stunning but was narratively mediocre; Pacific Rim had its moments but lacked the X-factor; Crimson Peak (2015) showcased all of del Toro’s strengths but also his weaknesses. The Shape of Water, on the other hand, is not only del Toro’s best film since Pan’s Labyrinth but is one of the best films of the year. In fact, I’d go as far as to say that it could headline the award season.

Aside from being a pleasure to look at, The Shape of Water boasts some good storytelling. At its core, it is a deeply touching feel-good love story featuring the Amphibious Man and Elisa Esposito (Sally Hawkins), a mute janitor at the secret lab where the creature is being held. As someone without the ability to speak, Elisa has been an outsider all her life, and falls in love with the Amphibious Man because he doesn’t look at her with the same disdain as the rest of the world. Through hard boiled eggs, art and kindness she bonds with the being, before going on the run with him while being chased by government officials led by Colonel Richard Strickland (Michael Shannon).

The chemistry between the two works because of the performances, which are both extraordinary because neither has speaking roles. Jones is excellent at conveying his emotions through his animal like mannerisms, while Hawkins is a revelation here in a charismatic performance.

The rather simple nature of the story means The Shape of Water is quite predictable, but this film is about feeling the moment rather than waiting for surprises. For viewers not interested in romance, The Shape of Water is also a compelling Cold War film, and for fans of film, it is a wonderful love letter to various ages and genres of Hollywood. The Shape of Water once again proves that exceptional filmmaking can transcend any genre.

Rated R for sexual content, graphic nudity, violence and language

Published in Dawn, ICON, December 17th, 2017