From Sacred Light to Shadows: A Psychoanalytic Criticism of The Lighthouse Film
The The Lighthouse film by Robert Eggers is a remarkable film. It was produced in 2019 and has become one of the outstanding films in contemporary cinema, mainly because of its impressive cinematography and symbolic framing. The film was nominated for Best Cinematography at the 2020 Academy Awards, and it was shot by Jarin Blaschke. The cinematography is not only technically amazing, but each frame is designed to convey a specific meaning to the audience. Now, let's take a closer look at the style and type of cinematography in The Lighthouse film.
Plot Summary
The story of The Lighthouse film is about two lighthouse keepers who are supposed to protect a lighthouse on a remote island for four weeks. The story takes place around 1890. Thomas Wake (played by Willem Dafoe), an old sailor who hasn’t spent Christmas with his family for 13 years, arrives at the island with Ephraim Winslow (played by Robert Pattinson), his assistant. The linear story begins from there. The characters and elements in the film can be analyzed through the famous Jungian archetypes of "Hero," "Shadow," "Holy Light or God," and "Anima."
The Battle of "Hero" with the "Shadow" for the "Holy Light"
In The Lighthouse film, the "Hero" and the "Self" is Ephraim Winslow’s character, who transforms into Thomas Howard as he seeks the "Holy Light," "God," or truth. The archetype of "Holy Light" represents the truth that the hero must strive for. The hero must go through difficulties and obstacles to reach it. The "God" or truth is the light inside the lighthouse, which makes the main character thirstier as he gets closer, and in the end, he burns. But in The Lighthouse film, Robert Eggers shows us the hero's fall instead of burning. The "Shadow" is represented by an old sailor, Thomas Wake, who is not only the shadow of the "Hero," but also the archetype of the "Wise Old Man" and "Magician."

Why is that? The "Shadow" or the "Shadow of the Hero" shows the darkness and the evil sides of the character, and it is one of the most complex archetypes. Thomas Wake (Willem Dafoe) is an oppressive, rude, and drunk character. We see him in the film with strong sexual instincts. He is the "Shadow" of the "Self" or the hero in The Lighthouse film. At the same time, he has many stories to tell Ephraim Winslow. Sometimes, we can think of him as the "Father," a strict father trying to shape the "Hero" from his son. Ultimately, he is the "Guardian" and also the "Magician," because he protects the light and is the only one who has access to the truth. He has reached a level where he can preserve the truth.
The mermaid in The Lighthouse film represents the archetype of "Anima." However, this "Anima" is not a balancing force; it is seductive, deceiving, and unreachable, because in mythology, mermaids often symbolize temptation, seduction, and prohibition.
Prometheus’ Forbidden Fire
The myth of Prometheus is an ancient Greek story where Prometheus steals the fire of knowledge, or the "Holy Light," from the gods, and Zeus punishes him for it. He is chained to a rock, and every day an eagle attacks him, eating his liver, which grows back each night, repeating the cycle. In The Lighthouse film, Robert Eggers implicitly tells this story.

In the film, Thomas Howard (Robert Pattinson) is Prometheus, seeking the forbidden fire, the light, or truth from Thomas Wake (Willem Dafoe). Thomas Wake can symbolize the wise Zeus who punishes Prometheus. Before his death, Wake warns him that his liver will be eaten by seagulls. Eventually, Prometheus is punished for discovering the truth, but this time not by an eagle, but by the seagulls, which represent the spirits of dead sailors.
Realistic Yet Theatrical
Willem Dafoe’s performance in The Lighthouse film is exceptional. His dialogues have a poetic and Shakespearean tone, and in some scenes, he adds a theatrical touch with exaggerated gestures and speeches. At the same time, his realistic performance is so beautiful that we forget he is Willem Dafoe. In The Lighthouse film, Dafoe’s deep character portrayal is complemented by his unique accent and movements that make him appear as an experienced sailor. The contrast between Robert Pattinson’s calm and explosive moments reminds us of theatrical performance as well, while also showing the gradual transformation of a shy man into a mad one, showcasing the power of method acting.
Both actors’ performances add to the emotional suspense of the film, making some scenes feel like a theater play. In some parts of the film, it feels like the actors are truly drunk and speaking their lines, and the anger, madness, and frustration in their performances are clear and well-expressed.
Symbolic Framing Language
The cinematography in The Lighthouse film, shot by Jarin Blaschke, is not only technically stunning, but each frame is designed to convey a specific meaning to the audience. The film has a 1:1.19 aspect ratio, which is similar to a square format used in the 1920s and 1930s in cinema. This ratio, combined with the black-and-white filming, enhances the emotions in the film, such as isolation and pressure on the characters. Due to this framing, the characters are often seen in confined spaces, which contributes to the film's theme of isolation and imprisonment. For example, in scenes where Pattinson works with a wheelbarrow or struggles to move heavy objects, the feeling of loneliness and suffocation is strongly conveyed.

The black-and-white cinematography and the use of high-contrast lighting remind us of expressionist cinema. The lighting makes shadows symbolic. Tall and threatening shadows usually represent fear, power, or the presence of a mysterious force. The lighthouse, as a key symbol in the film, is always at the center or top of the frame, representing power, temptation, or even ancient gods. If the cinematography hadn’t been done with such attention to detail, the film wouldn’t have appeared as powerful.
Poe and The Lighthouse
Finally, The Lighthouse film is inspired by Edgar Allan Poe’s unfinished story, which he only wrote three pages of before mysteriously dying. Interestingly, in the story, there is no mention of two lighthouse keepers; only one is mentioned, who is on an island protecting a lighthouse and writing daily notes.
Personal Conclusion
Now, we can pause and ask: Is Thomas Howard (Robert Pattinson) alone in The Lighthouse, and has he created the character of Thomas Wake (Willem Dafoe) in his mind? In one part, when Thomas Wake is drunk and leans on him, Thomas Howard says, "I’m Thomas," and Wake responds, "No, I’m Thomas, and you’re Ephraim Winslow." Howard insists, "No, I’m Thomas." Or maybe, as Wake says, Thomas Howard is still in the forests of Canada, and all these events are just his fantasies. In either case, whether Howard has reached the island or is still in the forest, he is probably alone. As we mentioned in the archetypes, the "Shadow" is actually the dark side of the "Self" or "Hero." So it’s possible that Thomas Howard is alone, and these events are his illusions.
In the end, The Lighthouse film offers an engaging story, powerful performances from its actors, and many visual attractions, making it a captivating experience for the audience. I would rate this film 7 out of 10.
Shayan Iroomloo Tabrizi