Synopsis: As the wavering cry of the foghorn fills the air, the taciturn former lumberjack, Ephraim Winslow, and the grizzled lighthouse keeper, Thomas Wake, set foot in a secluded and perpetually grey islet off the coast of late-19th-century New England. For the following four weeks of back-breaking work and unfavourable conditions, the tight-lipped men will have no one else for company except for each other, forced to endure irritating idiosyncrasies, bottled-up resentment, and burgeoning hatred. Then, amid bad omens, a furious and unending squall maroons the pale beacons keepers in the already inhospitable volcanic rock, paving the way for a prolonged period of feral hunger; excruciating agony; manic isolation, and horrible booze-addled visions. Now, the eerie stranglehold of insanity tightens. Is there an escape from the wall-less prison of the mind?.
country: Brazil.
writed by: Robert Eggers, Max Eggers.
Rating: 98140 Votes.
Duration: 109 Min.
release date: 2019

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Robert Eggers' sophomore outing is a visually outstanding experiment, challenging the modern audience to take an antique point of view. In black and white, and in an aspect ratio straight from the silent film era, The Lighthouse provides an experience more akin to browsing through a photo album in a maritime museum than a modern film. In less capable hands, this might prove a boring eighty minute slog, but Eggers' and his cinematographer, production designer, and actors elevate the script into a dreamy wonderland, or nightmare, of moving Ansel Adams images. It's so hauntingly beautiful - the waves crashing, the light beam in the fog, the lighthouse stairs, the men's quarters, the path to the shore - and so convincing as a product of early America.

One might assume it's a found footage documentary that was intercut with new footage to create a work of fiction for greater profits. In fact, some of it was reportedly filmed with cameras and film of the era, providing some explanation of how the filmmakers were able to achieve such striking images. It's a bit like watching 2001: A Space Odyssey, where you're confounded by its visual achievement considering the then primitive visual effects technology of the time. The Lighthouse is simultaneously old school and fresh, requiring modern sophistication and out-of-the-box thinking. Because of these techniques, I was immediately sucked in, forgetting all about the modern world I live in and surrendering to the devastating beauty of historic Maine.

To compare to Sam Mendes' 1917, some critics might bash the film for having more style over substance. The story, a simple play involving two men of clashing personalities while they perform lighthouse duties, can at the surface seem redundant and without a more compelling arc for its two men. The not even an hour and a half running time might even suggest there wasn't enough in the script to begin with; a good short film made too long. However, to me the movie felt more like a two and a half hour movie, in a good way. Never boring, but always engrossing, because I recognized the subtle ways Eggers demonstrates the increasing claustrophobia, anxiety, and tension between the men as the story progresses.

These subtleties are not achieved so much by the dialog or actions of the men, but by the style of direction and editing. And with regards to 1917, which I also loved, I'm of the opinion that the style IS the substance, and that the visual style of ALL movies should be considered before the script, since unlike a play and more like a painting, it is a style of art that completely surrenders itself to visual perspective. As it's been said a thousand times before, a picture is worth a thousand words.

Someone who I think might agree with me is Stanley Kubrick, whose work The Shining provides huge inspiration to The Lighthouse. Like the hallways of the Overlook, the borders of the small aspect ratio frame the claustrophobia of the men. Both movies concern two characters tending to maintenance of an isolated location, with one seemingly doing more work than the other. And both movies are about how people can slowly go insane.

I applaud Willem Dafoe and Robert Pattinson for memorable and layered performances, with Eggers' command of the vernacular providing awesome fodder for the actors to chew on. And like The Shining, this is a film meant to haunt you with the questions is raises rather than easy answers it provides. The allusions to Prometheus and Proteus, Icarus and Poseidon, provide a nice backdrop for illuminating (no pun intended) the age-old dilemma of human nature wanting what it cannot have, and the punishment of getting what you wish for. Like The Witch, Eggers' first film, these questions will likely merit several rewatches, drawing me ever closer to its light.

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