Like Cuarón, Guillermo del Toro began his directorial career as part of the state funded revival of the early 1990s with the contemporary vampire film Cronos (1993), and subsequently also departed to work in Hollywood. Since then he has enjoyed arguably the most ‘deterritorialised’ of the careers of the transnational Mexican auteurs, not returning to Mexico to direct a film, but continuing to travel between directing projects in the US (Mimic 1997, Blade II: Blood Hunt 2002, Hellboy 2004 and Hellboy II: The Golden Army 2008, Pacific Rim 2014, Crimson Peak 2015, The Shape of Water 2017) and Spain (El espinazo del diablo/The Devil's Backbone 2001, El laberinto del fauno/Pan's Labyrinth 2006) whilst also producing, writing and developing projects in Mexico, Spain, the US and New Zealand. In Chapters 1 and 2 we analysed the cinematic transnationality of del Toro's compatriots Iñárritu and Cuarón through differently focused auteurist methods (the former's in terms of style and aesthetic continuities, the latter's in terms of genre manipulations and institutional locations). With Iñárritu, it was possible to argue that the non hegemonic funding structures and (almost) consistent core creative team of all four of his productions facilitated the function of a coherent political and aesthetic critique. With Cuarón, who has worked as both an independent and an industry director, it was possible to separate out the avowedly more auteurist productions from those made ‘for hire’ (Harry Potter and The Prisoner of Azkaban, A Little Princess, Great Expectations) to explore how genre contestation and manipulation forward aesthetic (and commercially oriented product) differentiation whilst at the same time addressing sociopolitical issues. With del Toro however, the task of locating a sense of authorial, national or continental specificity and any political charge that may go with it, is made difficult by the fact that his work straddles so many different categories and locales of filmmaking and because, as his own and others’ affirmations suggest, in his work the industry/auteurist divide between English language and Spanish language co-productions is not consistently drawn (del Toro 2008: 38; Kermode 2006: 20; Davies 2006: 135).