Guillermo del Toro's Pinocchio

The narrative focuses on Pinocchio learning to accept himself as an imperfect individual rather than conforming to rigid societal expectations. While this promotes individual self-expression, it is framed through universal human experiences of love, grief, and family rather than modern intersectional identity politics.

The film presents a noticeable critique of traditional Western institutions. It portrays the local Catholic Church and its priest as conformists who cooperate with a corrupt fascist state. The movie also compares Pinocchio's wooden body to a crucifix, questioning why townspeople worship a wooden Jesus but fear an alive wooden boy.

The film changes the moral of the classic tale. In the original book and Disney movie, Pinocchio must be obedient to become a real boy. Here, disobedience and rebellion are celebrated as positive traits that save others. This subverts the original message, but it is an anti-authoritarian choice rather than a DEI-driven change.

Some conservative and Christian reviewers expressed disappointment with the film's anti-Catholic undertones, pagan spiritual elements, and the rejection of traditional Christian morals. However, there was no major backlash accusing the film of pushing modern progressive or DEI-driven politics.

Auteur Guillermo del Toro has a history of telling stories that sympathize with outsiders and critique traditional power structures, which aligns with the film's themes. The rest of the creative team, including co-director Mark Gustafson and the producers, have neutral, craft-focused records with no political activism.