How Lukewarm Is Guillermo del Toro?
By Dr. Jossalberto Briceno Saenz
"Timor mortis conturbat me" – The fear of death disturbs me.
I believe fear should always have a place in our lives.
After the release of Mimic in 1997, Guillermo del Toro was
compelled to leave Mexico due to the dangers plaguing the country. Since then,
he has openly criticized Mexico’s executive, legislative, and judicial branches
of government. However, as clear as he has been about his fears of living in
Mexico and his harsh critiques of the country, he has not refrained from
returning—for family visits, masterclasses in Guadalajara, and more.
This contradiction reminds me of the Bible, a text also filled with
paradoxes, as is Guillermo del Toro himself.
Personally, I harbor so much fear of returning to Mexico that I would not
even visit my own mother’s grave. I say this without hyperbole—verbum
scouti—word of a scout. So, what is it that allows Guillermo to defy his
fears and return to a place he has so openly condemned?
On one point, I completely agree with del Toro: Mexico’s poor security
situation. This insecurity resulted in his father’s kidnapping in Guadalajara,
Jalisco, in 1998—a horrifying ordeal that lasted 72 days. At the time, I knew
nothing of Guillermo del Toro’s life or his films, yet I found myself similarly
critical of Mexico’s failing security system. Unlike him, however, I lacked
fame and financial resources, yet I, too, felt unsafe in Mexico.
As a university student, I proposed requiring higher education for all
security personnel in Mexico, meaning that only individuals with college
degrees could serve as police officers or hold administrative positions in
police departments. My vision was to transform a barbaric Mexico into a safer
one, with education as the cornerstone of change. This effort led me to engage
with universities throughout Guanajuato to raise awareness, but it also earned
me the ire of local police—a reality that fills me with terror to this day.
A significant body of literature exists on Guillermo del Toro, much of it
centered on his personal notebooks, filled with sketches and ideas for his
films. While visually stunning, these works often feel more like children’s
books—rich in illustrations but lacking in depth and theory. If I were to
recommend reading, I’d suggest “Del Toro by Del Toro” by Antonio
Trashorras, one of his collaborators, and “His Life, His Cinema, His
Monsters” by Leonardo García Tsao, del Toro’s close friend. However, to
truly understand the contradictions inherent in del Toro’s character, I’d
advise reading both simultaneously.
Del Toro’s words and actions are riddled with inconsistencies. Consider his
morbid tales of walking through morgues filled with bloodied fetuses, or his
descriptions of Pan’s Labyrinth and the online backlash he faced in
Spain. Spaniards, by his account, united on forums to disparage him and root
for his film’s failure—a campaign that undeniably embodied bullying, racism, and
discrimination. Yet del Toro refrained from criticizing these actions, even
offering excuses for their behavior in his book. The same leniency is absent in
his critiques of Mexico.
So why does del Toro continue to return to Mexico despite his professed fears?
The answer, in my opinion, lies in financial benefit. This undermines the
weight of his words about Mexico’s flaws, including its poor security and
mismanagement.
Returning to the Bible, Revelation 3:15-16 states: “I know your works,
that you are neither cold nor hot. I wish you were cold or hot. So then,
because you are lukewarm, and neither cold nor hot, I will vomit you out of my
mouth.” To me, del Toro’s behavior and rhetoric are lukewarm, and that
undermines his credibility. One is far more genuine as either hot or cold, but
not as tepid.
The truth is, the books about del Toro raise more questions than they
answer. Written by friends, they avoid direct responses or offer ones that are
neither believable nor reliable. In the end, they, too, are lukewarm.
What do you think? When you love something, you love it despite its
flaws—that’s what we call blind love. I believe fear is similar; when you truly
fear something, you fear it entirely. If not, you’re not being honest with
yourself.
Guillermo del Toro, why not grant me an interview? I have 18 questions
written in my notebook, but I’d be satisfied if you answered just five.





