Arriving with an impressive 13 Oscar nominations, Guillermo del Toro brings us another fantastical tale, one featuring an amphibian man, that, despite its other-worldly qualities, is a deeply human tale of love. It is pure cinematic magic.

Set in the 1960s, during the Cold War, the film follows Elisa (Sally Hawkins), a mute woman who works as a cleaner at a top secret government research facility. Working alongside Zelda (Octavia Spencer), she mops labs and cleans toilets, but soon everything changes when a new ‘asset’ is brought to the facility; a mysterious creature captured in South America. Elisa begins to bond with the creature, teaching him sign language, bringing him food and playing music. However, she soon discovers the villainous government agent, Strickland’s (Michael Shannon), plans for the creature, and hatches a plan to help him.

This is a master storyteller at the peak of his powers. The film is full of gorgeous visuals that are matched by an entirely absorbing, emotional story to create a truly wondrous world that pulls you in. It is entirely heartfelt, tender and touching, but doesn’t shy away from harsh moments or a more grounded reality of the situation. As you float along in the pull of the warmth of certain scenes, others will come along with startlingly violent action, upping the stakes of the plot and shaking you free from the spell of the romance, as it does for the characters. Everything in the film is felt deeply – both the joyous and horrifying emotions – allowing you to feel fully involved in every moment, and empathise deeply with the protagonists. The film’s deeply human heart, and touching story of love (of varying kinds) make it incredibly tender and touching. You will be hard pressed not to find that a smile has crept onto your face at many moments, even if you make recoil in horror at others.

The visuals wrap up this exquisitely crafted story in an incredibly beautiful shell. The colouring is gorgeous; many sets and scenes are a meld of deep oceanic greens, the lighting casting shadows and glares of other colours onto the settings in such a beautiful manner. The camera moves in long, fluid takes, often embodying the motion of being underwater. It creates an almost dreamlike atmosphere, one that is appropriately interrupted in the moments of fear, or in the presence of villains. The production design is absolutely remarkable having created such a distinct world that you can get lost in. You never notice the real time passing as you are wrapped up in the film. It is complete down to every little detail, balancing believability with a little bit of something else. Every visual detail has been tailored perfectly, right down the position of subtitles (for Elisa’s sign language) in the frame. Dancing over the top is an entrancing score, plus an assortment of songs, that serve to heighten the fairytale atmosphere crafted by the story and visuals, as well as contribute to the emotional journey.

Due to its emotional core, this is a film that lives in the performances, and a hugely reliable and outstanding ensemble has risen to the task. Carrying the film is Hawkins, who delivers such an extraordinarily communicative performance, despite not speaking a word. She uses every muscle in her face and body to easily convey Elisa’s complex inner life, and ensures she crafts a strong presence for a character often perceived by others as meek. She is supported by a brilliant and tender Richard Jenkins at home (as her neighbour), and fantastic Spencer at work, both of whom, in a way, also serve as an extension of her character. The three are characters that are often ignored or seen as invisible, but as they form a team, they become a force to be reckoned with in a wonderful way. As the villain of the piece, Shannon is excellent – a steely man with a lack of humanity that actually makes him the monster of the piece. As the other principle character, Michael Stuhlbarg (and explanation of who’s role would be to spoil too much) is also fantastic, a sorely overlooked player in three of this year’s big films. The ensemble all work together brilliantly, to flesh out the world, and really create characters that are multi-dimensional, and that we really care for (or despise in the case of the villain).

Del Toro has called this ‘a fairytale for troubled times’, and that is the perfect description. Beneath its fantastical premise, this is a film with a lot to say about equality and the way we treat each other, but it is also a fantasy adventure film for grown-ups. As well as imparting its messages, it is a film that will fill your soul up and let you escape. This makes The Shape of Water the kind of film the world needs now in many ways, but it is also a film that will certainly stand the test of time.