Guillermo del Toro’s long-awaited adaptation of Frankenstein has captured the imaginations of audiences and critics alike since its release on Netflix in late 2025. The film, starring Oscar Isaac, Mia Goth, and Jacob Elordi, has not only earned five Golden Globe nominations—including Best Motion Picture — Drama—but also ignited a flurry of speculation about possible sequels and the future of del Toro’s vision for Mary Shelley’s timeless tale.
At the heart of this speculation is Mia Goth, who plays dual roles in the film and has become a focal point for questions about where the story might go next. Addressing the rumors head-on, Goth recently discussed the possibility of a sequel, particularly the much-whispered-about idea of a Bride of Frankenstein film. During interviews at the Palm Springs Film Festival and with Collider, she revealed that she brought up the idea directly with del Toro. "I did bring that up to him, and he said, ‘But Victor Frankenstein is dead.’ That is an issue. That is definitely an issue overall," Goth stated, according to IGN India and Collider.
This simple but definitive response from del Toro seems to close the door on a direct continuation of the story as told in his Frankenstein. In the film’s climactic moments, Victor Frankenstein, portrayed by Oscar Isaac, dies from his injuries after finally reconciling with his creation, the Creature. The Creature, played with haunting vulnerability by Jacob Elordi, survives, but Victor’s death appears to leave little room for a traditional sequel. As Goth put it, the narrative challenge is significant: "Victor Frankenstein is dead," she reiterated, making it clear that any further storytelling would have to take a new direction.
Despite this, Goth’s willingness to broach the subject and del Toro’s thoughtful response suggest that the creative team is not entirely closed off to exploring new avenues within Shelley’s universe. As Collider reported, Goth’s engagement with del Toro on the topic is indicative of her interest in future collaborations. She expressed deep admiration for the director, saying, "When Guillermo del Toro calls you just with one role, that’s an honor, let alone with two. I mean, I was totally beside myself, really and incredibly nervous and very excited, and the entire experience was just very, very special, wonderful, wonderful." Her enthusiasm for the project and its creator shines through, hinting that while a direct sequel may not be on the horizon, the door isn’t completely shut on further stories inspired by Frankenstein.
Del Toro’s adaptation, released on Netflix on October 17, 2025, with a runtime of 149 minutes, is the culmination of nearly two decades of the director’s passion for the material. According to Entertainment Weekly, del Toro first sketched his version of the Creature back in 1987, and the story has been with him ever since. He described the project as a "lifelong dream," and his dedication is evident in every frame of the film. Critics have praised Frankenstein for its artistic vision, production design, and emotionally resonant performances—particularly Elordi’s portrayal of the Creature. IGN India rated the film 7.5 out of 10, noting its "stunning visuals, powerful performances," and a successful balance of gothic horror with emotional storytelling.
Del Toro’s take on Shelley’s classic deviates from earlier adaptations in its emphasis on forgiveness and emotional complexity. The story begins with Victor Frankenstein as a boy, scarred by the loss of his mother and the abuse of his father, Leopold (Charles Dance). Driven by grief and a desire to conquer death, Victor’s experiments—funded by the enigmatic Henrich Harlander (Christoph Waltz)—lead him to create the Creature from the body parts of dead soldiers and criminals. Lightning is harnessed to reanimate the patchwork being, but Victor’s frustration with the Creature’s lack of intellectual growth leads to a series of tragic events.
The film’s pivotal scenes see Victor burning down the tower where the Creature is kept, only to be gravely injured himself. The Creature escapes, learns language and empathy from a blind elder, and discovers its own immortality—a burden as much as a blessing. "I cannot die, and I cannot live alone," the Creature laments, capturing the existential loneliness at the story’s core. Eventually, the Creature confronts Victor, demanding a companion. Victor, horrified by the idea of the monster reproducing, refuses. This confrontation leads to further tragedy when Elizabeth (also played by Mia Goth), Victor’s sister-in-law and the object of his affection, is accidentally shot and dies protecting the Creature.
The narrative comes full circle in the Arctic, where Victor, consumed by vengeance and regret, pursues the Creature. In a powerful divergence from Shelley’s original, del Toro’s film ends not with revenge, but with forgiveness. Victor, dying and remorseful, pleads, "Forgive me, my son. And if you have it in your heart, forgive yourself into existence. If death is not to be, then consider this, my son, wherever you are alive, what recourse do you have but to live?" The Creature, in turn, grants Victor forgiveness: "Rest now, father. Perhaps now we can both be human." Del Toro told Entertainment Weekly that this approach was deeply personal: "What you realize is a grudge takes two prisoners and forgiveness liberates two people."
With Victor’s death, the Creature frees a ship trapped in ice and walks alone into the sunrise—a symbol of hope and the possibility of a new beginning. The film’s conclusion, both somber and uplifting, has resonated with viewers and critics, who have lauded its emotional depth and visual grandeur despite some noting pacing issues. The film’s success at the Golden Globes and the Palm Springs Film Festival only underscores its impact.
For now, fans hoping for a Bride of Frankenstein sequel may have to temper their expectations. As Mia Goth’s comments make clear, the story del Toro set out to tell has reached its natural conclusion, at least for this chapter. Yet with a director as imaginative as del Toro and a cast as passionate as Goth and her co-stars, it’s hard to rule out future explorations of Shelley’s universe. Frankenstein stands as a testament to the enduring power of forgiveness, the complexity of creation, and the timeless allure of monsters who, in the end, just want to be understood.
