Robert Eggers' first two movies take two different approaches to ambiguity, but both reinforce his vision.
Robert Eggers has only made three films, but he’s already built the kind of personal brand other directors cultivate over decades. After 2015’s The Witch and 2019’s The Lighthouse, the idea of a “Robert Eggers movie” became well-established in the minds of avid filmgoers: atmospheric period pieces, steeped in folklore and brought to life by an obsessive commitment to authenticity.
RELATED: Robert Eggers on ‘The Northman,’ How the Theatrical Release Is His Director’s Cut, and Why He Loves the Dolby Atmos Mix Things are considerably less straightforward in The Lighthouse. For one thing, the characters don’t uniformly believe in the supernatural, like the family in The Witch. Thomas Wake is an old sea dog with superstitions to match, while Ephraim Winslow comes from the unsentimental world of logging. Wake insists on saying a toast before every meal and outright smacks Winslow when he dismisses his warning not to kill a seagull.
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