Is robert eggers gay

On that front I'm afraid the deck is already a little stacked in the 'icky homosexual goings-on' department if Knock really is already long-distance scorching for Orlok; but then, so is Ellen, and there's a Random Naked Nubile Girl on a Horse scene, and just a lot of general full-on horniness in many directions. I hesitate to clutch pearls over the presence of fucked up sexuality everywhere--especially in the context of something trying to be classically gothic, and double especially in a climate where So Much of media is increasingly wont to be self-censored or sanitized into blandness. I am very fine with Fucked Up and Perverse happenings on principle. My monsterfucker badge is worn proudly, as is my 'Let Gothic Horror Be Fucked Up' badge.

That said.

Yeah, the fact that the only non-straight hint I can think of in his track register is the almost-kiss dance scene in The Lighthouse (plus a side of Dafoe's character comparing Pattinson's eyes to a lady's) is not a fantastic sign for el gee bee tee elements. Yet even while the evident 'lolll Thomas gets cucked because he doesn't satisfy Ellen she's 2 warm and goth 4 u loser&#

Robert Gene "Bob" Eggers

1950 - 2020

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Repressed Homosexuality in The Lighthouse

Any conversation about The Lighthouse inevitably becomes a discussion of just what exactly the movie is about. This is no surprise, given the director, Robert Eggers said that he was "more about questions than answers in this movie" when interviewed by the Huffington Post. Therefore, trying to define the film is difficult. You could call The Lighthouse a cosmic/psychological horror movie that’s equal parts love affair, tragedy, and personality study.

The plot revolves around the tumultuous connection between lighthouse keepers Ephraim Winslow (Robert Pattinson) and Thomas Wake (Willem Dafoe) and the madness that ensues when they become trapped within the cramped lighthouse as they weather an ever-worsening storm. Along the way, we bear witness to acts of savage aggression, bizarre hallucinations, and a truly toxic masculine power game as both keepers try to expose the other’s secrets.

The Lighthouse touches on a range of contemporary problems and it does so in a stark horror mode that’s prosperous in mythology and ambiguity. I possess no doubt that The Lighthouse will arrive on many best-of 2020 movie lists, and each

Review: The Light is Mine—Robert Eggers’ "The Lighthouse"

It’s the 1890s. The world is a sea of mist, and a boat punches through it, foghorns blasting and engine chugging. Were it not for the waves breaking under the bow you couldn’t quite tell where the ocean ends and the sky begins: it hangs prefer some cerebral and color-scrubbed obstacle in a rainy haze. Robert Eggers’ The Lighthouse opens with this oneiric, perturbing vision, and hangs in that matching nebulous universe all throughout, straddling dreams and nightmares. A follow-up to his fulminating 2015 folk horror debut The Witch, this is an entrancing and feverish descent into hell, peppered with a black, alcohol-fueled, wry comic edge.

Aboard the steamboat are Willem Dafoe’s Thomas Awaken and Robert Pattinson’s Ephraim Winslow. Wake is spirited-eyed, spiky-haired and rotten-toothed ex-sailor with a penchant for liquor, flatulence, and sea-dog stories. Winslow is his right hand—a bookish, taciturn, and cash-strapped former logger on a quest for money and on the run from some shadowy secrets lurking on the mainland. They first grace the frame like two silent statues, peering from the deck at something further ahea