Pans Labyrinth final scene

The shot-reverse-shot which has the fawn in the frame of the shot, yet not in the reverse shot in Captain Vidal's p.o.v can be used to argue the underworld is in fact in Ofelia's mind (although Some may argue due to him being under the influence this can't be used as evidence to support this argument- it is left very ambiguous and open by Del Toro for interpretation for the audience to decide).

The cinematography of the final scene blends both the warm toned lighting of the underworld with the golden hues of the real world. It is evident as Ofelia runs towards the icy toned portal as a roaring fire burns behind here. She is literally and metaphorically running away from the mortal world.

The dietetic noise of Mercedes' lullaby which plays in the opening scene aids the cyclical nature of the film.

The man speaking through voiceover beckons Ofelia, his daughter, to the underworld. A golden hue fills the screen and a blur is used to transition. The shot is finally both warm toned and set in the underworld and the princess has finally returned. Yet in the real world, where the cinematography is finally coldly alienating, Ofelia takes her last dying breath as the camera pans slowly around her body with Mercedes weeping over her. The non diegetic music accompanying Mercedes' melody is fairytale-like (high pitched with little ornamentation with underlying harp strings being plucked). The camera pans to an extremely high angle looking down into the portal and the spiral motif returns. 

Pan's Labyrinth (2006) Ending Explained: Was It Real? - The Odd Apple

As the narrator discusses the ending to the tale,  Del Toro uses scene layering to transition rather than panning, yet still avoiding any cuts. 

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