1

Robert Eggars' The Lighthouse (2019) escapes easy genre-pigeonholing. It is Edgar Allan Poe-inspired, it also has strong elements of Gothic Romanticism, psychological thriller and touches of the surreal, but here the whole is truly greater—and stranger—than the proverbial sum of its parts. One thing doesn't escape classification: it is beautifully shot in a sumptuous palette of grays on 35mm film and framed in an almost perfect square (actually 1.19:1 ratio). Forget about that pathetic trend of releasing black and white versions of movies (presumably to give them an art-house aesthetic they never remotely had to begin with), Eggars and cinematographer Jarin Blaschke have created a film that was born to be in black and white, dare I say, that would have suffered if shot in color.

I must mention that, besides the luxurious cinematography, another vital aspect of this film are the performances of both Willem Dafoe and Robert Pattinson that run the gamut from understated to over-the-top.

Replacement worker Winslow (Pattinson) arrives on a remote island outpost as assistant to lighthouse caretaker Wake (Dafoe). From there, the story begins to churn like the sea surrounding the island itself. Scores of seagulls seem to hang stationary in the lonely island air, nailed to the sky like a butterfly collection. The surrounding sea's pounding, crashing waves underline the isolation and transmit the inescapable feeling of a primal force so belittling, so humbling, so invincible; resistence seems truly futile. The only light in this film is that of the lighthouse's arc light, and even that has something of the sinister about it.

Between mermaids, seagulls and fever dreams, there are secrets under the surface of everything and everybody that, like corpses buried at sea, eventually bubble up and reveal themselves. Everything seems to get trapped, drowning, in the tar-black of Eggars' film, unable to free itself, sinking deeper, further entrenched. Nothing is as presented except the indominable sea.

Snob Shorthand: this is cinema! Big screen it!

no comments (yet)
sorted by: hot top controversial new old
there doesn't seem to be anything here
this post was submitted on 31 Jul 2023
1 points (100.0% liked)

MovieSnob

3 readers
1 users here now

A community to discuss, debate, and celebrate the history of cinema, emphasis on—but not exclusively—the groundbreaking, avant garde and experimental, with a healthy dose of irreverence instead of the usual navel-gazing that usually surrounds cineastic appreciation.


Community Rules

  1. "All is fair in love and war" but keep it witty or, at minimum, intelligent. If you can't do either, keep walking. This community's administrators will not abide simpletons nor bullies.

  2. "Franchise picture" fans and similar ilk, be forewarned: you are open game to be verbally flayed in this public square. Did you not see the name of this community?

  3. There ~~may~~ will be occasionally adult subject matter (NSFW)—such is the nature of the beast. While it is not the scope of this community to purvey nor condone extreme or gratuitous sex or violence, neither subjects are necessarily condemned when in context with the subject matter at hand. It is also not the scope of this community to discuss only adult themes; how else could one discuss Fleming's The Wizard of Oz (1939) or Donen/Kelly's Singing In The Rain (1952)?

  • It is suggested you do not subscribe if you are highly sensitive to either subjects.

  • It is strongly suggested that authors of submitted posts mark NSFW content as such. Err on the side of doubt.

  1. All opinions expressed are strictly of the respective authors and do not necessarily reflect those of the moderators of this community nor the administrators of this instance (lemmy.film).

Logrolling

icon !animation@lemmy.film

icon !filmsframes@lemmy.world

icon !filmnoir@lemmy.film

icon !horrormovies@lemmy.film


founded 1 year ago
MODERATORS