(94) Robert Eggars builds on the exploration of isolation, superstition, and identity that he began with The Witch. Visually, the slender black and white frame of The Lighthouse is also a logical progression from the sepia tones he employed in his previous outing. HARK! Feast ye eyes on the beauteous, monochrome, square-like flickering forms! That’s my best stab at replicating the sudden poetic monologues that burst forth from Willem Dafoe’s Old Tom between the obscenities and flatulence he routinely expels. The Lighthouse is incredibly quotable, sufficiently weird, and a film you’re not soon to forget.
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