REVIEW: Guillermo del Toro’s ‘Frankenstein’ is gorgeous but unaffecting

REVIEW: Guillermo del Toro’s ‘Frankenstein’ is gorgeous but unaffecting
Jacob Elordi as the Creature in Guillermo del Toro’s ‘Frankenstein.’ (Courtesy of Netflix)
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Updated 9 min 5 sec ago

REVIEW: Guillermo del Toro’s ‘Frankenstein’ is gorgeous but unaffecting

REVIEW: Guillermo del Toro’s ‘Frankenstein’ is gorgeous but unaffecting

DUBAI: Guillermo del Toro’s long-awaited “Frankenstein” is, above all else, a hauntingly beautiful film. Maybe too beautiful for its own good.

Every frame looks like an exquisite painting, rendered in exacting detail. The precision of del Toro’s scene compositions — the baroque architecture, the green laboratory glass, the deep hues that wrap each scene — reminds you that this is a director incapable of doing anything by halves.

This meticulousness is also the film’s undoing. Because the very beauty of del Toro’s “Frankenstein” removes the raw horror that author Mary Shelley’s iconic original demands.

The film’s first half, told from Victor Frankenstein’s (a magnetic Oscar Isaac) perspective, is as immaculate and calculated as the doctor himself. The camera glides through mansions and laboratories with reverence. The textures are breathtaking. Yet the existential chill that should accompany the story feels largely absent.

Ironically, it’s only when we shift to the viewpoint of the Creature (Jacob Elordi) that the film begins to pulse with some humanity. The camera presents Elordi’s hulking yet heartbreakingly gentle figure with compassion and empathy, and it’s a story you want to drink in completely.




Oscar Isaac as Victor Frankenstein. (Courtesy of Netflix)

Isaac plays Victor as a man consumed by his own myth, with an intensity typical of an actor who rarely misses the mark. But it’s Elordi who steals the film. His Creature is affecting in the purest sense — you feel for him as you would for a lost puppy.

Del Toro takes considerable liberties with Shelley’s 1818 novel. Shelley, just 18 when she wrote it, used her story to critique patriarchal hubris and meditate on the sanctity of creation versus the ambition of man. Del Toro strips the original's meaning away by altering Victor’s backstory to give it a more tragic tinge and, in the process, explain away his monstrous tendencies.

All is not lost, however. Mia Goth’s eerie and gorgeous Elizabeth Harlander, Victor’s brother William’s fiancée, injects some of that lost authorial voice.

As a feat of design and atmosphere, “Frankenstein” is formidable. Its scale alone testifies to del Toro’s mastery of worldbuilding. But you end up finishing the film — tragically on the small screen (through Netflix), not in a theater — moved more by its dramatic visual flourishes than by its story.


Saudi designer revives Al-Faw heritage at Dubai Design Week 

Saudi designer revives Al-Faw heritage at Dubai Design Week 
Updated 1 min 12 sec ago

Saudi designer revives Al-Faw heritage at Dubai Design Week 

Saudi designer revives Al-Faw heritage at Dubai Design Week 
  • ‘Every piece tells a story,’ says FAW founder Amal Al-Bednah

DUBAI: ’s creative heritage took center stage at Dubai Design Week through FAW, a Saudi brand founded by Amal Al-Bednah.  

FAW participated in Dubai Design Week’s Designed in Saudi exhibition, presenting handcrafted pottery inspired by the Saudi archaeological site Al-Faw village. 

Haya Al-Aqeel, designer and craftswoman at FAW, told Arab News that the project was established to highlight the story of Al-Faw through design. “Our designs are inspired by discoveries from the site. We reimagine them in a modern artistic way while staying true to their origins,” she said. 

One of FAW’s creations for Dubai Design Week. (Supplied)

Al-Faw was once the capital of the Kingdom of Kinda. It is located about 100 km south of Wadi ad-Dawasir and roughly 700 km southwest of Riyadh. The archaeological site contains the remains of residential houses, markets, roads, cemeteries, temples, and water wells that provide insight into the region’s early urban and cultural life. 

At Dubai Design Week, FAW showcased two pottery pieces — a bowl and a cup with a matching plate. The items were finished in soft, natural tones of beige and terracotta, with subtle engraved patterns inspired by the carvings and inscriptions found at Al-Faw. 

FAW’s wider collection features a variety of handcrafted items, including ceramic cups, plates and bowls adorned with motifs such as gazelles, grape clusters and ancient jar designs painted in earthy tones. The brand also produces vintage-style leather notebooks embossed with symbols inspired by historical carvings. 

Each FAW piece is made from high-quality clay, shaped and fired by hand, Al-Bednah told Arab News. 

“ has a rich history that we must benefit from,” she said. “We merge art, beauty, and modern design with our historical roots and identity. Every piece we create tells a story from Al-Faw, each carrying its own meaning and message.” 

The design process begins with research into the site’s architectural details and inscriptions, which are reinterpreted into geometric patterns and subtle textures across the pottery surfaces. “When you believe in the idea you are presenting, you find endless inspiration,” Al-Bednah said. 

Visitors to Dubai Design Week examine FAW’s work. (Supplied)

Al-Aqeel described FAW’s creative approach as “historical heritage presented through a modern artistic challenge.” She added: “Our aim is to build a deep connection between the collector and each piece. We want people to feel that link between the past and the present.” 

FAW also aims to preserve craftsmanship and support new generations of designers. The brand’s mission is “to revive the spirit of Al-Faw and keep heritage alive across generations through training and knowledge-sharing.” Al-Bednah said FAW seeks to maintain continuity between the Kingdom’s history and its evolving creative practices. 

FAW’s products are made entirely in , and the brand has begun receiving orders from clients abroad.  

Al-Bednah noted that participation in the Designed in Saudi initiative, launched by the Saudi Architecture and Design Commission, provided valuable exposure. “(Being selected) gave us great confidence,” she said. “It allows Saudi designers and creatives to present their work internationally.” 

She also praised the growth of ’s design sector in recent years, highlighting the opportunities created under Vision 2030. “Our history is rich,” Al-Bednah said. “Saudi designers are thinking in new ways while continuing to reflect their identity and traditions. The creative sector is expanding, and that progress is encouraging.” 

She added that public initiatives have played an important role in supporting local talent. “I always encourage young Saudis to take advantage of the support available for artists and designers. Vision 2030 has created continuous opportunities for creativity in different areas,” she concluded.