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Snow White has been a cultural icon since Brothers Grimm wrote her story in 1812, based on the folk tale of the beautiful princess. Despite the wide variety of Snow White film versions, from Walt Disney's animated classic to the recent reinvention of the fairy tale by Universal Pictures, never before had it been adapted with a sense of eclectic metaphor beyond centuries and nationalities until the arrival of the project of the Spanish director Pablo Berger. Blancanieves (2012) emerges as a melodrama set in southern Spain during the 1920s, with an unusual heroine turned into a bullfighter for the big screen with the dwarfs. The aim of the article is to analyze this movie and its characters as platforms to discern the cultural, social, and folkloric circumstances that act to configure an independent Snow White, who retains connections with her predecessor versions. In methodological terms, the purpose is to study the many references of Pablo Berger's work from different prisms: not just based on the film analysis (for instance, the narrative structure shows a debt with both the German and French silent movies) but also, throughout different literary and historical references. [ABSTRACT FROM AUTHOR]