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Two “wickies” - one inexperienced (Robert Pattinson), the other a grizzled veteran (Willem Dafoe) - arrive on a remote New England island in the 1890s for a four-week stint maintaining the local lighthouse. But as isolation and personal differences take their toll, both men slowly succumb to their inner demons and to the strange, otherworldly allure of the lighthouse itself. Featuring virtuoso performances by its two leads, striking and period-authentic monochrome photography, and shot through with wickedly dark humour, The Lighthouse is an intense, claustrophobic experience like no other that cements Eggers’ status as one of the most exciting filmmakers of our time. (Arrow Films)
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This is a beautifully filmed black and white movie in a 1.19:1 square format which is evocative of a different time, as if the hypnotic movie The Lighthouse was created outside of all time and space. Willem Dafoe and Robert Pattinson give magnificent performances, and they compete to outperform each other in who portrays the most manic version of a madman. Figuring out the symbolism of the scenes, and the point of certain moments in the plot, offers up all sorts of parallels extending back to ancient times, however, I do not want to give out any spoilers, The Lighthouse is definitely a movie that everyone has to interpret in their own way. It is a very well-made art-house horror movie, which makes you completely believe the loneliness and hopelessness is real, so I was still waiting for some element from Robert Eggers, which would completely knock me off my feet while watching his movie, which did not happen. Anyhow, I still acknowledge his great directing skills and unique vision, and I will be very interested in his future directorial work. I heartily recommend seeing The Lighthouse on the big screen and, if possible, with very well-translated subtitles. [Sitges 2019]
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The Lighthouse is about nerdy form, great actors and the director’s fearlessness in experimentation and ambition to do something that had never been seen before. The sound track is astonishingly engaging and almost even scary with the deep droning of the lighthouse. The cool black-and-white 4:3 composition is reminiscent of horror movies from the early 20th century. The depressing confining atmosphere of the remote, foggy and windy exterior and the damp and stinking interior. And the conflict between two men that doesn’t take all of these circumstances into account. Their drunken talk isn’t very stimulating, but it serves well to characterise the men and the place at the time.
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The Lighthouse is a film where atmosphere is everything and the story is nothing. After the interesting and successful The Witch, Eggers had a free hand and he took advantage of it in his own way. He mocks the popcorn audience with their ideas of horror full of jumpscares and ghosts. Eggers is perhaps the only director who not only heard of Lovecraft and read something from him, but also thought about his work and was inspired by his theoretical foundations. Sartre already knew that hell is not devils, but other people. Put two ultimate sociopaths on a deserted island, give one an illusion of power, and expose the other to humiliation and the result will arrive soon enough. There is nothing, only loneliness, and boredom spiced up by memories of the sound of crushing human bones and failed relationships. Sexual frustration, bitterness, and rising levels of hatred supported by the distillate in the blood. The raging water element invigorates the imagination, just like a superstitious sailor's tales. Eggers impressively works with mythological references, with image and sound, and cleverly avoids literalness. Both actors reward him with excellent acting, the kind you don't see often. All in all, The Lighthouse is one of the most impressive horror films I have had the opportunity to see. Overall impression: 95%.
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The Lighthouse is undoubtedly a remarkable experience. A film composed of black and white shots in the classic aspect ratio, full of magical realism turning into naturalism. Even its language is different, and the script is inspired by the language of real 19th-century sailors and the unfinished short story by E. A. Poe. The result is certainly worthy of attention, but it is open to debate whether pure naturalism would be a more appropriate form.
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A very empty exhibition of a talented machine to build a thick atmosphere; you can’t deny its depiction of period realism and the intentionally obsolete formal approaches (static shots, details, expressive acting, precise geometric composition), but it has absolutely nothing to offer the viewer seeking a meaningfully organised narration or some sort of distinctive process. The Witch headed somewhere and tied a loop around the viewer, who had set certain expectations, but The Lighthouse is self absorbed from the first to the last scene and never changes its nature and the pressure on the audience – and though in itself this isn’t annoying, it’s certainly not remarkable or in any way as subversive as Eggers wants it to be. 60%
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