Robert Eggers has always felt like a filmmaker outside of his time. That’s what makes him such a refreshing writer and director. It’s in his dialogue and simplicity that helps to make his films so effective. Though, at this point, in his career he only has two films under his belt – he has served as writer and director on both. Which is always a more grueling process. For his 2015 debut of The Witch, Eggers set the film in colonial times. Crushing the dialogue and the slow burn filmmaking process for an arguably effective ending. The Witch had a really divisive debut. I’ve had conversations with people that honestly, loved it and I’ve had equally the same amount of conversations from people that hated it. While I didn’t exactly hate it, I was in the latter portion of that group.

I only recently watched The Witch. While the dialogue, as previously mentioned, is refreshing and authentic – especially within the modern movement of horror. The events leading up to the “climatic” ending feel a bit dull. I’ll also confess that I only watched it in preparation for The Lighthouse, Eggers’ 2019 follow-up. This psychological thriller depicts two men (Willem Dafoe, Robert Pattinson) serving as lighthouse keepers who get stranded during a storm. Lighthouse has a really interesting structure, that once again, helps Eggers work stand out. First to note is its visual aesthetic. Being a modern horror film that is not only shot in black and white but also 1.19:1 ratio allows The Lighthouse to be established as a timeless film before you even see the first frame. When you help establish that with the haunting score from Mark Korven, you are solidifying your timelessness all the more. The Lighthouse, indeed, feels like a film out of time.

While visually it is a sight to behold, the structure of the arcs continues to breathe life into its individuality. Dafoe and Pattinson both are nothing short of astonishing. However, its’ in the way that such performances are presented that helps The Lighthouse maintain its extraordinary identity. Dafoe, is largely, the arc audiences follow most throughout the first half of the film. Little to no details are revealed about Pattinson at first. There is a brilliant layer of mystery woven into the tapestry of the movie – thanks to these factors. Dafoe is a powerhouse performer in The Lighthouse. The transformative performance echoes with every line delivered. There are several monologues which Dafoe delivers in the movie. Nothing short of magnificent – every single time.

As we grow with these characters, Pattinson starts to become more transparent to the audience. There is a large amount of mystery which surrounds his character for the first act of the movie. Largely being silent, aside from the occasional “Aye, sir”, Pattinson doesn’t offer much dialogue or emotion. Though, as the film begins to unfold more and more – audiences are treated to another transformative performance in Pattinson. The more unhinged the film allows the arcs to become the more impactful, you’ll find their performances to be. The looser that the film becomes the more ambiguous it is as well. Eggers proves he is a master of his craft, with the dialogue, but also at creating tension and mystery. With a latter half, set in the tone of Inception or Joker, The Lighthouse is nothing shy of incredible.

Overall, The Lighthouse, is ambiguity at its finest. Writer-director, Robert Eggers, crafts a timeless tale of insanity, tension and just straight up weird. Nothing can prepare you for this film. No marketing, no trailers – The Lighthouse is a one of a kind gem. Standing out amongst modern horror, due to its black and white visuals, its nostalgic ratio, and tension building score from Mark Korven – The Lighthouse is bound to be in conversations for a LONG time. Doubling down on its effectiveness is its performances from Willem Dafoe and Robert Pattinson. Both performances are mesmerizingly transformative and completely unique for different reasons. The Lighthouse is weird, bold and effortlessly an instant classic.

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