The Lighthouse

Film - 2019

8,6

118.9K

The Lighthouse it's a movie with Robert Pattinson, Willem Dafoe, Valeriia Karaman Full cast. Directed by Robert Eggers. Original title The Lighthouse, runtime 110 minutes. Genres Drama, Fantasy, Horror.

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The Lighthouse of

Roberto Flauto

[Eggers, The VVitch and The Lighthouse]Eggers is a cultured, well-prepared, really good author. He conquered me. I had high expectations, which were confirmed in a big way. Indeed, with The Lighthouse they went even further. I loved this movie. Stupendous. I'll try to say what I think. Both The VVitch and The Lighthouse have at their center the theme of human finitude, of the individual's relationship with the transcendent, with the divine, the anguish deriving from the awareness of being mortal, the fear of death and the desire to go further, to overcome the limits of the miserable, wonderful, human condition. The VVitch declines these themes starting from the myth of the witch, around which an incessant religious dialogue, of Catholic origin, is innervated. References abound. They are never ends in themselves. The themes of sin, of guilt, of the unknown that lives in us even more than what we inhabit. The apple that the boy vomits during the possession phase (sublime scene!), His ecstatic expression, the same one found in Dafoe on the lighthouse. Here, these are the two main moments of divine manifestation - in The Lighthouse the metaphor is decidedly more explicit. A god who as such is unattainable, dazzling, immobile. The ending of The VVitch is the encounter with the devil, or at least the darkness. At first it seemed "out of place" to me, but I thought about it all day and I told myself that Eggers had studied it well: the girl, having left that sterile Eden that was the family farm, enters the woods , naked, until reaching that Sabbath. She takes flight. Lost and lost as only a human can be. She is finally free to be herself. Because it is in the darkness of the forest that the path that leads home is found (Holzwege, Heidegger's interrupted paths). It is in the dark forest that Read all

Masterpiece or crazy shit? of

Bongo

The title of the review is obviously joking but I hope it gives an idea of the doubt that gripped me for the entire (considerable) duration of the film: am I in the presence of a cinema masterpiece or am I watching a film that does everything to please the critics ?I have no doubt that Robert Eggers, also considering his young age, will become one of the most important directors of the coming decades - and I am eagerly awaiting his “Nosferatu”. The film is simply majestic from all points of view and the performances of Willem Dafoe and Robert Pattinson are nothing short of sublime, especially in the monologues. A piece of advice: it is a film to watch in the original language with subtitles, otherwise you lose much of the characterization of Dafoe's character, perfectly credible as a late 19th century sailor without becoming a caricature (although Eggers winks a bit at the viewers when he has Pattinson describe his character as a sort of scoundrel who poses as Captain Ahab). Eggers' attention to historical detail, including language, is obsessive. The film, visually, recalls the masterpieces of the past thanks to the use of black and white, the unusual square format and lenses that reproduce the effect of films of the past. The slow pace made me think of Tarkovsky. Why my doubts, then? Because I couldn't shake the impression that from a certain point onwards the film was transformed into a theatrical work (I discovered after seeing it that Eggers also worked in the theater and it seems evident to me in this film). The dramatic monologues of the first part transform into theatrical monologues in the finale. The lighthouse setting becomes metaphorically just a painted backdrop to act as a backdrop for the actors' performances, but Read all

The Lighthouse of

Federico Tyst Querin

The Lighthouse is the perfect example of postmodern poetics which from Tarantino onwards has produced magnificent works (Moulin Rouge by Baz Luhrmann, The Strange Color of Your Body's Tears by Hélèn Cattet and Bruno Forzani,...) fusing in itself what has already been seen and heard elsewhere and, in doing so, generating something new and unthinkable. In the approximately 100 minutes of film, Eggers collects everything he loves and throws it in the viewer's face, from Bergman to The Shining, from Hitchcock to Murnau, all seasoned with a sound sector which is the true added value of the film. Without taking anything away from the exceptional Pattison and Dafoe nor from the very elegant Eggers himself or from the astonishing d.o.p. Jarin Blaschke, it is Mark Korven's music that gives The Lighthouse that aura of awe that is typical of truly extraordinary works (in the sense of the Latin etymology, out of the ordinary). Everything has already been seen, in this film, but nothing is really seen. Everything is new. Although every frame of the film whispers the name of Bergman, of whom Eggers is the most worthy heir in the contemporary panorama, starting from the aesthetics of the Swedish Master and modernizing it through camera movements that the director of The Seventh Seal would, perhaps, not only have rejected but rejected, The Lighthouse is The Lighthouse. It is not a copy of anything, it is pure auteur cinema, which brings together, like Tarantino's films, what the author himself loves and admires. Read all