Eggers. Robert Eggers has made two films: The Witch, a strong debut, in 2015 and his 2019 follow-up, The Lighthouse. He’s two for two in the archives—and both landed very close to the top 10 of their respective years (a murders’ row of films in 2019 kept The Lighthouse out) and the top 100 of their respective decade. He’s a style-plus auteur as well with a very distinct voice. His films are bathed in production design authenticity and painstaking detail. They also, absolutely, have a strong audio component as the dialogue used is utterly specific and distinct as well. Both are about isolation, folklore, and a decent into madness. This is clearly a talented auteur.
Best film: The Lighthouse
- A confirmation of Eggers’ prodigious gifts and his auteur standing after the 2015 debut- The Witch
- Hypnotically beautiful to look at (and listen to) but more than that really: distinctive, meticulous – I called The Witch curated and said that you could almost smell and feel the film—characterized it as method acting but from the director’s chair—and that praise and description certainly fits here for Eggers sophomore effort.
- Eggers has a background in production design—rum, flatulence, the cutlery, the beards—every object in the frame, the choice of aspect ratio, the colloquial Herman Melville-like specific time/place vernacular—the jargon– these are all specific choices– all wet, dirty, dire, foul and authentic
- The titular set piece (which of course they built for the film and it actually works) is symbolic of course, solitude and phallic—the spiral staircase and the light itself emblematic and striking
The titular set piece (which of course they built for the film and it actually works) is symbolic of course, solitude and phallic—the spiral staircase and the light itself emblematic and striking
- 1.19 : 1 box-like aspect ratio and shot on 35mm. It’s a not to the silent film expressionism and the vice-like frame size is perfect for the confining nature of the world. Cabin fever and a descent into madness (feels like The Shining in that ways)
- At its best some of the mise-en-scene and production design reminded me of the damp specifics of Tarkovky’s cabin in The Mirror or the black and white section prior to the “The Zone” in Stalker. Bela Tarr’s The Turin Horse is another.
- It’s a major feather in the cap for Robert Pattinson and Willem Dafoe—both capture the look, are as dedicated to the language and setting as Eggers is—and both are given flashy monologues- magnificent.
natural lighting bliss here in The Lighthouse
- Like The Witch this is about a strained relationship (just two characters in this film along with some hallucinations and delusions and of course the domain Eggers creates) in isolation. Nuanced characters and complex relationship
- Specificity and New England folklore (mermaids, seagulls and dead bodies) for Eggers—production design mastery
The specificity is two-fold– the detail in the production design (Eggers background) and the vernacular.
total archiveable films: 2
top 100 films: 0
top 500 films: 0
top 100 films of the decade: 0
most overrated: Eggers does not have an overrated film. His two films do land on the TSPDT consensus 21st century top 1000- but both are slightly underrated.
most underrated : They’re both underrated– but not egregiously so. The Witch lands at #16 of 2015 on the TSPDT consensus list for the 21st century. Lighthouse lands at #19 for 2019– both should be at least five slots higher.
gem I want to spotlight : The Witch
- A debut brimming with self-assurance and specificity
- The specificity is two-fold– the detail in the production design (Eggers background) and the vernacular. The corn stalks are real. The dialect is clearly authentic- the “thee’s” and “thou’s”. You can almost smell and taste the film – it’s curated—it is as studied as a method actor not breaking character but in the form of an entire film.
– a superb painting of a landscape here- you can almost smell and taste the film – it’s curated— let’s call it “method directing”- haha
- Ominous vocalizing in the score- like the opening of Kubrick’s 2001.
- Powerful (and horrifying) imagery in the witch montage with the hand on the child, blade on the child
- The themes are large— cursed or damned, rotten apples and pride and small lies (sins) turning into bigger lists
- Like Ari Aster’s Hereditary from 2018 and all of the best horror films of all-time (not quite putting this in that class) it absolutely works as a drama without the scares. This is a family drama and the characters are harsh—the family unraveling– ripping each other apart.
- These characters are devout—they never blink or nod to us the viewer or the world outside of the film. Constant praying from all of them.
sublime lighting- and this is just an awesome painting here- these characters are devout—they never blink or nod to us the viewer or the world outside of the film. Constant praying from all of them.
- Honestly I wish Eggers would spend more time basking in the details of the set design
- A New England folk story
- Really good review from the WSJ- Joe Morgenstern “This phenomenal debut feature by Robert Eggers has a singular style and tone, and its horror flows from the deepest wellsprings of human nature.”
- Recommend/Highly Recommend border- right on the fringe of the top 10 of 2015 and I’ve appreciated it more every time I’ve seen it
stylistic innovations/traits:
- A former production designer— he’s a born curator. Meticulous. it can be beautiful in Eggers world, but only if it is authentic—authenticity is the priority clearly—each prop, piece of clothing, lighting looks like it was transplanted from the period he’s adapting
- I mention some other auteurs here from Aster to Tarr and Tarkovsky – but I do not see a ton of cinematic influences on Eggers—speaks to his singular style
- natural lighting– certainly a trait of Eggers
- Both films set in New England to date
- Both films about a strained relationship in isolation. Nuanced characters and complex relationships
Both films about a strained relationship in isolation. Nuanced characters and complex relationships
- Colloquial, region/time and jargon specific authentic dialogue—get those subtitles ready!
top 10
- The Lighthouse
- The Witch
By year and grades
| 2015- The Witch | R/HR |
| 2019- The Lighthouse | HR |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
hearing that Egger’s next film is going to be an adaptation of Romeo and Juliet is really exciting, here’s to hoping that Werewulf lives to everyone’s expectations.
Here’s my ranking of Robert Eggers filmography as we wait on his next project known as Werewulf
1. The Lighthouse – Magnum Opus
2. Nosferatu – Masterpiece/Magnum Opus
3. The Northman – Must See
4. The VVitch (or The Witch) – Highly Recommend
Performances:
1. Willem Dafoe in The Lighthouse – 5
2. Lily-Ross Depp in Nosferatu – 5
3. Robert Pattinson in The Lighthouse – 5
4. Alexander Skarsgard in The Northman – 5
5. Bill Skarsgard in Nosferatu – 5
6. Nicholas Hoult in Nosferatu – 5
7. Ralph Ineson in The VVitch – 4.5
8. Claes Bang in The Northman – 4.5
9. Simon McBurney in Nosferatu – 4.5
10. Anya Taylor-Joy in The VVitch – 4.5
11. Willem Dafoe in Nosferatu – 4.5
12. Nicole Kidman in The Northman – 4/4.5
13. Emma Corrin in Nosferatu – 4
14. Ralph Ineson in Nosferatu – 4
15. Aaron Taylor-Johnson in Nosferatu – 4
@Matthew – Very close but if I did a combined list I would go:
# 1 Midsommar (2019) – MP (probably in my top 200)
# 2 Nosferatu (2024) – MP/MS
# 3 The Lighthouse (2019) – MS
# 4 Hereditary (2018) – MS
# 5 The Northman (2022) – HR (only one viewing)
# 6 The Witch (2015) – HR
# 7 Beau Is Afraid (2023) – R (only one viewing)
I have now seen all of Eggers films at least twice. Who will have the better filmography all time?
Robert Eggers
# 1 Nosferatu (2024) – MP/MS
# 2 The Lighthouse (2019) – MS
# 3 The Northman (2022) – HR
# 4 The Witch (2015) – HR
Ari Aster
# 1 Midsommar (2019) – MP
# 2 Hereditary (2018) – MS
# Beau Is Afraid (2023) – R
@James Trapp- It is going to be fascinating to track – hopefully over the next years and decades
https://screenrant.com/robert-eggers-werewolf-movie-darkness-medieval-setting-tease/
Robert Eggers to direct a Werewolf film next called “Werwulf”. It is to be set in medieval England
This is music to my ears, I love that he is sticking with the horror genre and in particular films set in the past.
@James Trapp- maybe we already talked about this but there was an interview/quote where he said the thought of doing a contemporary film with cell phones or something made him physically ill
https://www.avclub.com/robert-eggers-cellphones-cars-contemporary-film
@Drake – ha I could not agree with him more. Aside from the low quality of the visuals, the contemporary setting of the 3 films Malick made in the 2010s really did not work for me. A Hidden Life (2019) was a great return to form in both style and setting.
There are some exceptions such as Decision to Leave (2022) which used modern technology effectively but for some filmmakers using a contemporary setting just feels wrong
Given the same rating, which do you consider stronger between Hereditary and The Lighthouse?
Whoops, this was @James Trapp
@Drake – what are your current grades for Eggers 3 films?
@James Trapp
2015- The Witch R/HR
2019- The Lighthouse MS
2022- The Northman HR/MS
@Drake – thanks, I still need to see The Northman but I like your grades on the other two. Trying to watch through, got my ticket for Nosferatu (2024) next week
@James Trapp- very exciting- I can’t wait for that one
@Drake – Have you watched yet? I just saw in theatres and it was magnificent. It definitely does the original Nosferatu (1922) justice but that is not the only relevant Murnau film. There were several shots that seemed to be inspired by Faust (1926) The establishing shot of the moon lit castle was jaw dropping. Already looking forward to revisiting when it comes out of theatres
@James Trapp – sounds very promising- I have not yet- hoping to go today/tomorrow- shame on me for it taking this long
I don’t get Nosferatu being a MS/MP, I felt it was an R yesterday. I didn’t sense anything in my body while watching and if I don’t, I know for sure the work isn’t that style plus visually.
Well I meant R/HR
@Jey Neo- I’m not so sure on this- “I know for sure the work isn’t that style plus visually”….
Well I meant for me. I agree the set design and the color palette is pretty nice, specially on the lighter tones but I felt it had too much exposure on the more general shots and the clarity wasn’t there. Foreground and background weren’t that well separated among other things. That’s how I feel upon first viewing about it. How do you feel about it??? Better than The Lighthouse?
But hey I always tend to believe my body about art
Nosferatu (2024) is the film I am most excited for this year. I rank both of the others as MP
Nosferatu (1922) – MP
Nosferatu the Vampyr (1979) – MP
Nosferatu (2024)
Has there ever been a single adapted work that was produced 3 MP or near MP level films?
It is not exactly the same thing but the closest I can think of is
Blow Up (1966)
The Conversation (1974)
Blow Out (1981)
I rank all 3 as MP
@James Trapp-Nosferatu is an illegal adaptation of Bram Stoker’s Dracula. Even then the vampire’s name is Count Orlok. I could be wrong but Nosferatu is more like a nickname for the Prince of Darkness(Either Dracula or subsequently Orlok). That means the worthy Dracula films needs to be considered here as well. Tod Browning’s 1931 Version, Terence Fisher’s 1958 Version and Francis Ford Coppola’s 1992 Version.
@Malith – Fair point, I need to see the Coppola version again. I remember being quite impressed but felt like it was significantly different than FW Murnau 1922 silent and the Herzog version. Then again I have only seen the Coppola version once and it was at least 3 years ago. But I will check it out again. Probably do a mini study of all the Dracula films leading up to Eggers version
@James Trapp-Yeah. It goes for the colorful look. But I think it suits the tone of that film. It’s an incredibly scary film. That parallel editing sequence intermixing the marriage and Sadie Frost’s death is bone chilling. I think it stumbles a bit at the end. But still. I know the genre is different but it is quite similar to Coppola’s One From the Heart in terms of lighting, I think both of these were shot inside a studio and the main story is quite similar as well(Two lovers breaking up and getting back together although with different consequences).
@Malith – yeah I covered during Coppola Study but that was one of my earliest studies and much less detailed. I had the following:
Bram Stoker’s Dracula (1992)
– Just finishing up my Coppola study, covered 13 of his films. Still need to watch Tetro (2009).
– I’m surprised to say I think Dracula may be the hidden gem here. Visually it’s quite impressive with the usual Coppola traits; many dissolve edits, bold use of color, and impressive cinematography.
– Gary Oldman is as fantastic as Keanu Reeves is awful. Reeves is unsurprisingly just blown off the screen by Oldman and Anthony Hopkins.
– Loved the use of shadows a la F.W. Murnau’s Nosferatu.
– Feels like an erotic thriller much of the time, effective in shifting tones.
– Impressive costume work.
– Coppola effective in creating a unique and utterly bizarre world different from other horror films.
@James Trapp-I liked Richard E. Grant more than Hopkins. But Grant’s role gets reduced once Hopkins appears. Hopkins is hamming it up and that’s not a bad thing but there was a dilemma to Grant that I liked much more. I haven’t seen Sadie Frost in anything else but she is brilliant here as well. Grant & Frost are a much more compelling couple than Reeves & Ryder. And Tom Waits is superb too. I think Winona is more of a problem than Reeves frankly. Reeves’ doesn’t have much screentime after the first 30 minutes or so. The ending could have been executed better for sure. There is a jarring jump cut from Hopkins & Ryder in a cave to Hopkins killing the three brides in the castle. And Winona doing those supernatural things like conjuring up blue circles from the ground at the end is very poor. And I don’t buy that Reeves’ character would allow Winona to go to the inside of the castle with Oldman.
The parallel editing in that scene of the Frost killing and Ryder, Reeves marriage is quite impressive. And a lot of dissolves like you said especially in the first part. I think Coppola goes for broke and forget about the narrative mostly around the 40 minute mark. It works here because of the genre and this becomes incredibly scary where nothing is impossible. It’s like a fever dream most of the time after that.
@James Trapp-I think Eggers film would be completely different than Coppola’s. Without any real colors. And a more conventional tone. I miss color use in films. Most films released now lack color. There are a few exceptions like Wes Anderson and Saltburn from last year but mostly the films released now don’t have much color to them.
@James – There is another remake of Blow-Up albeit in Hindi but still acclaimed (though underrated now). Jaane Bhi Do Yaaro (1983) is a masterpiece in satire and well worth watching.
What do you think is the best Robert Eggers’ film now?
@Lionel- updates coming as the next big project. I’m starting to put together updates on the pages now.
Ah. For now what would you say is Eggers’ best The Northman or The Lighthouse
Where is Alex Garland?the director of Ex Machina and Annhilation?
@Janith– Alex Garland is not on the list
Hey, Drake! I recently watched a few Leo McCarey films. Is he going to be in the top 250?
@George- Nope. I recently did a little McCarey study- nine films- and no- he’s not going to make the cut for the top 250.
@Azman- Resume is a factor- but certainly not the only factor. I think the resume is close to Eggers- maybe a tad stronger, but Eggers is the stronger director. Years from now I have plans to expand this to 500 directors (I’m going to be done at 250 and update a few other things first)– and Stanton will obviously be there. I think it would be close- somewhere between 250-300
I’m excited for the top 500 so I learn about new directors. This top 250 list was really good and I think I prefer it to TSPDT’s list.
In your opinion, what makes Stanton a “not so good’ director? Walle and Finding Nemo have some really good visual storytelling with some homages to previous classics. I’m just curious about your opinion.
@Azman- Thanks for the kind words. well it is all relative right? Compared to who? I was comparing him to Eggers. And “not so good” is your term for Stanton- right? If i described him as such it was a mistake. There are a lot of good directors that will be left off the top 250 here. Pixar films are great- no doubt about that and Wall-E and Nemo are two of the finest. I think they’re close to The Witch and The Lighthouse. But do you think Wall-E and Nemo happen without Stanton and are pretty much the same? I do. There’s no way The Witch and The Lighthouse exist without Eggers
Yes not so good was my term. You didnt describe him as that. I meant to say that you described Stanton as not-good-enough (for the top 250.). My question was what makes Stanton not good enough for the top 250 in your opinion.
You answered the question very well.
Maybe Stanton can make a MP or 2 (I’m not saying it’s very likely, but anything is possible) in the future. He receives a lot of money from Pixar to do his projects and he is a good writer.
Anyways, I’m excited to see who the last 5 names on the directors top 250 are.
Lastly, in your top 500, will there be a few directors who have only one good and a few average movies like Darabont or Pontecorvo?
Which ‘upcoming’director are you most excited for in the near future?
@Azman- Yes- I think when you expand it to 500 you’ll definitely have room for Darabont, Pontecorvo and others who made one truly tremendous film but– largely– that was it.
As for as the “upcoming” director- I mean I’m still very excited to see this crew- https://thecinemaarchives.com/2020/01/21/the-10-best-directors-of-the-2010s/ — but the recent names on this 250 director list like Shults, Gerwig, and Eggers are up there. But I’m also very excited to see what the director of 2017’s Columbus does next- Kogonada
@hey drake,
Do you think Andrew Stanton might creep into the top 250. He is still alive so he can still make movies.
He has one MS and another HR (Finding Nemo, I’m much higher on it).
He has also been a driving force in Pixars movies over the years and written other quality movies like Rataouille.
If the list is based off of resume, then surely Stanton’s I’d better than Eggers right? He also has a nice visual style in Walle and Finding Nemo.
What do you think?
Kapo(1960),Burn(1969)?
@Janith- Burn is in the archives- but not in the top 30 or so of 1969. I have not had the chance to catch Kapo
Where is Gillo Pontercovo?A guy who actually have a top 10 film.
@Janith— The Battle of Algiers is impressive— but one film doesn’t generally do it.
There’s a mistake at the end of the article. At the “by year and grades” section it says Lady Bird and Little Women.
@Cinephile- thank you for the help- should be fixed now