Is there more to the two crazy lighthouse keepers?



Willem Dafoe in “The Lighthouse” (Netflix).

“The Lighthouse”, says the columnist in streaming NICK IN ALL, is about as independent as it gets when it comes to filmmaking, but its success lies in the fact that people can get as little or as much out of it as they want.

QUIET having washed up on the shores of Netflix this month, “The Lighthouse,” an alluring black-and-white tale of two lighthouse keepers, both named Thomas, stranded on an island off the coast of New England.

Nick overall.

The film is a curious, intense and at times disgusting descent into utter madness, off the beaten track of mainstream film, which makes its addition to the world’s most popular streaming platform a surprise.

But his odd sensibility seemed to have captured the audience’s intrigue and in turn Netflix’s attention.

The only cast members of this surreal experience include Willem Dafoe, an angry “Captain Arabesque” lighthouse keeper who commands a shady young employee played by Robert Pattinson.

Both actors have put on some of the most impressive performances of their careers, especially Dafoe in his deliverance from crazy folk monologues as the situation on the island crumbles.

It is also shot entirely in an eerie black and white, giving the experience an eerie feeling of existing in a sort of limbo.

“The Lighthouse” is about as independent as it is when it comes to filmmaking, but its success lies in the fact that people can get as little or as much out of it as they want.

For some, it may just be the story of two men going mad on an island together.

Others may spot the heavy mythological influence or view it as a deep psychological dive.

Indeed, the influences of the story are as wide as an ocean, including that of Edgar Allan Poe’s last unfinished story and an actual mystery about three lighthouse keepers who went missing in 1900.

Many will love it and many will hate it, but either way, it’s almost guaranteed that willing viewers will never have seen anything like “The Lighthouse” before and it’s thanks to Netflix for launching something so disconcertingly unique in the mix.

This is just the start of what’s hot in the streaming world right now.

Closer to reality, Binge pushes the third season of “American Crime Story”, a dramatization of the affair between former US President Bill Clinton and White House intern Monica Lewinsky.

This is another anthology show, meaning each season has covered a different topic and can be watched on its own if viewers are only interested in a certain story.

Season one investigated the OJ Simpson murder case, season two examined the assassination of Gianni Versace, and now season three anchors the perspective to that of the multiple women involved in the Clinton political scandal, which led upon his dismissal.

On Apple TV Plus this month, they’re sending “Game of Thrones” to space with their epic “Foundation” series.

It’s not literally a galactic “Game of Thrones” spin-off, although at this time of revamping popular things, I almost wouldn’t be surprised if it was, but it certainly is another attempt. to fill the void left by the fantastic phenomenon after its end two years ago.

“Foundation” is inspired by classic science fiction writer Isaac Asimov, adapting his series of books about a group of exiles who must fight an interplanetary empire after a genius prophet predicts the future destruction of the galaxy.

This is top notch real estate for Apple to spend money on bombastic CGIs to get more viewers to the platform, but it also promises some food for thought.

“Foundation” delves into some heavy sociological and scientific concepts found in the work of one of the 20th century’s most recognized science fiction writers.

Issac Asimov’s fame was more tied to his other popular story, “Me, Robot,” which got a very lax adaptation in 2004 with the film starring Will Smith (on Disney Plus).

This movie is, of course, a shameless setup for Smith to spin CGI bots with a few cheesy one-liners and has always been doomed to endless repetitions on commercial television.

But after mental health crises on a cursed island, dismissals of world leaders and galaxy-wide apocalypses, sometimes that’s all you need.

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Ian Meikle, editor


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