The cinematic landscape is abuzz with anticipation for Guillermo del Toro’s ambitious reimagining of Mary Shelley’s timeless novel, Frankenstein. Set for a limited theatrical release on October 17, 2025, before its global streaming debut on Netflix on November 7, 2025, the film features Australian actor Jacob Elordi in the pivotal role of the Creature. Elordi, already a trending topic for his captivating performances, steps into the hallowed — and heavily prosthetically enhanced — shoes of one of literature’s most iconic figures, promising a portrayal that is both deeply human and strikingly alien.
Del Toro’s Vision: A Monster of Empathy
Guillermo del Toro, a director renowned for his profound empathy towards monstrous characters, views Frankenstein not merely as a horror story, but as an exploration of humanity, grief, and the complex dynamics between creator and creation. Having nurtured a passion for Mary Shelley’s novel for decades, del Toro’s adaptation shifts the narrative focus to the Creature’s perspective, allowing for a nuanced examination of themes such as isolation, the yearning for belonging, and the pain of being misunderstood. “For me, only monsters hold the secrets I long for,” del Toro has stated, underscoring his lifelong fascination with beings that embody humanity’s deepest fears and vulnerabilities.
This iteration promises to be a faithful yet fresh take, blending the novel’s profound philosophical questions with del Toro’s signature visual artistry. The film, boasting a runtime of two hours and 29 minutes, is expected to champion practical effects and meticulous craftsmanship, hallmarks of the Oscar-winning director’s filmography. Oscar Isaac stars as the brilliant but potentially villainous Victor Frankenstein, the scientist whose ambition births the Creature.
Jacob Elordi’s Transformative Journey
Jacob Elordi’s casting as the Creature marked a significant moment, especially after original actor Andrew Garfield exited due to scheduling conflicts. Del Toro revealed that Elordi’s ‘eyes, so full of humanity,’ were a key factor in his selection, particularly after witnessing his range in the film Saltburn. Elordi’s considerable physical presence, standing at 6’5″, also contributes to a unique dimensionality for the iconic role. His preparation involved an intensive, multi-hour daily transformation in the makeup chair, a process Elordi described not as mere application, but as an ‘out-of-body’ experience, a passage into the character itself.
“It’s not a make-up process, it’s not hours in the chair. It’s your time to pass over into the creature,” Elordi shared, taking del Toro’s guidance seriously. He was encouraged by the director to immerse himself in previous adaptations, with del Toro famously assuring him that “They’re just movies. They can’t fucking hurt you.” This collaborative approach has yielded a portrayal that insiders describe as a revelation, highlighting the Creature’s potential for tenderness and profound emotion, moving beyond the typical depiction of a mute brute.
A Highly Anticipated Release
Frankenstein has already premiered to critical acclaim at the 82nd Venice International Film Festival on August 30, 2025, and saw a special screening at the Academy Museum of Motion Pictures in Los Angeles on October 6. Following its limited theatrical run, the film’s arrival on Netflix will make it accessible globally, solidifying its place as one of the most anticipated movies of the year. The ensemble cast, including Mia Goth, Christoph Waltz, Charles Dance, and David Bradley, further bolsters the star power and artistic pedigree of this gothic spectacle.
With del Toro at the helm and Elordi delivering what is anticipated to be a career-defining performance, Frankenstein is poised to be a haunting, visually stunning, and emotionally resonant cinematic event, bringing the latest news on this highly awaited adaptation to audiences worldwide. It promises a profound re-examination of Mary Shelley’s enduring tale, questioning who truly embodies monstrosity in a world often defined by its own failings.
