After much waiting, Robert Egger’s sophomore film, The Lighthouse has finally released in Australia. Taking place in a rather non descript island presumably somewhere off the coast of the United States, focusing on a lighthouse keeper, Thomas (Willem DeFoe) and his assistant, Winslow (Robert Pattinson), and their descent into madness during a longer than expected rotation keeping the lighthouse.
The most immediately noticeable cinematographic choices in the film is the black and white visuals combined with the odd 1:19:1 aspect ratio. These artistic choices pay off tremendously, delivering a strikingly immersive quality to the film, combined with tight framing and blocking that keeps every scene hyperfocused on its subject. Combined with the vintage lenses and 35mm film that it was shot with, effectively transporting you back in time as if the film was an old classic that had been somehow lost to time and recently restored. The soundscape also does a tremendous job of drawing you into the atmosphere, with a rather minimalist approach of little music, but ever present field recorded sounds such as the cawing of gulls, wind or rain and dread inducing foghorn that makes itself known at regular intervals.
The performances of DeFoe and Pattinson are absolutely stellar, not only convincingly presenting the descent into alcoholism and madness, but also a complex, uneasy relationship between boss and subordinate that features camaraderie, rivalry and tinges of homoeroticism. Dialogue is also superb, with period-accurate accents and an oft literary style reminiscent of 19th century classics.
Narratively, the film follows a rather simple cabin fever premise, with both characters becoming more drunk and insane as time goes on. One of the central mysteries of the film is what is so special about the light in the lighthouse, as Thomas forbids Winslow from managing it at night. However, there is a distinct mythical, folkloric and Lovecraftian quality to the film that creates an ever present dread that was skilfully executed in Eggers’ debut The Witch , except here it is heightened in different and more abstract, absurd ways Eggers also deftly switches between moments of dread and absurd, almost surreal and discomforting comedy, sometimes in the same sequence, such as a montage involving mermaids and masturbation. The ability to successfully combine these polar tonal characteristics are reminiscent of some of David Lynch’s best work.
With The Lighthouse, Robert Eggers has been able to solidify himself as one of the best and most refreshing new American filmmakers. The Lighthouse is a delightful watch that is parts hilarious and absurd, but also terrifying, wrapped in an immersive vintage aesthetic. It is an instant arthouse classic and well worth seeing however you can access it.
10/10
CG Kino 