What is “The Last Thing He Wanted” about? Well, I have no idea. But I’ll try to fill you in by copy-pasting the IMDb description: “A veteran D.C. journalist loses the thread of her own narrative when a guilt-propelled errand for her father thrusts her from byline to unwitting subject in the very story she’s trying to break.” If you think “Well, that sounds complicated,” wait till you see the film.
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.
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”
Oh the mighty Award Season! In the second half of every year, fans of cinema everywhere, long forgotten their sufferings in the first half, start to say: “I wish Award Season was here already!”. And then before we know it, it’s here! Oh no… Our favourites are losing. Everyone is angry at each other. Non-Americans are staying up all night to watch red carpets just to see their favourites for 5 seconds then to suffer through bad jokes in award shows themselves. And then before you know it 2-3 awards have passed, three weeks till next one. “We needed a break.” says the fans of cinema, oh no they forgot their suffering and ask “It’s been a week c’mon when’s the next one?!” and the circle of life keeps going until the Oscars. Everyone is exhausted by then, friendships are torn, predictions are off the roof! And then, whoever wins wins. Everyone goes to bed and sleeps off the season exhaustion for 14 hours, wakes up next morning saying: “Did I dream that or did Annette Benning’s husband actually announced Best Picture wrong?”
Well don’t worry, Much Ado is here to give you a little bit of help in this award season of surprises. Here are eight films from some of this season’s best nominees to help you pass the time and help with withdrawals!