‘The Lighthouse’ is a Salty Ol’ Sea Shanty of Sexual Desire

If The Witch was Robert Eggers’ cinematic interpretation of a ‘New-England Folktale’, The Lighthouse is an archaic, 19th century, sailors’ sea shanty brought to the screen. Yes, that’s right — the new atmospheric, slow burn, character-driven, A24 released horror film is here with a substantial October opening and a potential low CinemaScore. What it does have, however, is a strong two-man show, a square 1.19:1 aspect ratio, and a deep love for the visual motifs of the German Expressionist movement; Through that, Eggers successfully harkens back to a horror era gone by whilst still offering enough originality, drama, examinations of masculinity, sexual frustration, and plenty of bodily fluids along the way. That’s a pretty stormy sea to navigate! Avast, me hearties.

Screen-Shot-2019-07-30-at-8.17.06-AM

In case you were wondering what the hell The Lighthouse is actually about, the plot details and trailer for the film are vague for a reason. The film opens with two lighthouse keepers, the ever-iconic Willem Dafoe, and the newly accepted indie darling Robert Pattinson, as they arrive at a remote New England island. Soon, they are stranded by the onslaught of a storm where their sanities are tested and all concept of time gets lost in the ether. Terrorized by shreiking mermaids and angry seagulls, the relationship between the two lighthouse keepers shifts with nearly every scene in hellish isolation and the deep repression that comes with it.

If you are familiar with Eggers’ debut, The Witch, you’d understand Eggers is committed to his period aesthetics. He has his actors speak in ye olde tongue, and every mannerism, voice inflection, accent, and piece of slang is accounted for — but on top of that, The Lighthouse decides to be a lot less straightforward and more minimalist than The Witch. The result is a film that can be a bit hard to swallow (not unlike Dafoe’s lobster) but relishes in being a bizarre, Lovecraftian, atmospheric and performance-driven showcase that’s fascinating to see unfold.

Continue reading “‘The Lighthouse’ is a Salty Ol’ Sea Shanty of Sexual Desire”
Advertisements

The Dark, Wild, Feminist Liberation of ‘The Witch’

This essay is by our guest writer Cassidy Olsen. 

thewitch1
© A24

The phrase “Satanic feminist art film” will get you laughed out most rooms that aren’t a liberal arts classroom or the Hot Topic in your hometown mall, so it should come as no surprise that A24 struggled to brand The Witch for audiences upon its wide release in 2016. Written and directed by first-time feature filmmaker Robert Eggers, The Witch is a horror movie by almost any standard, riddled with the genre’s usual tropes of supernatural possession, exorcism and things that go bump in the night, but it has little regard for audience expectations. By relying on period-appropriate language (“Wouldst thou like to live deliciously?”) and opting for meditation in place of jump scares, The Witch left hardcore horror fans wanting and others asking, “What did I just watch?”

The answer? Well, a Satanic feminist art film.

Continue reading “The Dark, Wild, Feminist Liberation of ‘The Witch’”