Is robert eggers gay
Robert Houston Eggers (born July 7, ) is an American filmmaker who has written and directed The Witch (), The Lighthouse (), The Northman (), and Nosferatu (). The book holds sentimental value to both Eggers and Blaschke, who, when they first started working together in their early 20s, bonded over their love for Poe, and for illustrations from that era.
As of now, the American director is a happily married man with clean slates on scandal and affair department. After his career in designing experimental and classical theatre in downtown New York, Robert directed several short movies during his twenties. All of these possible, overlapping interpretations have made Orlok an ironic romance icon.
Eggers is purposely ambiguous when it comes to Ellen and Orlok’s connection. He never admits he is gay to himself/us and actively tries not to think of men when he masturbates.
It's why we don't see any explicitly gay shit in the film and there is weird cuts. Any conversation about The Lighthouse inevitably becomes a discussion of just what exactly the film 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. The plot revolves around the tumultuous relationship 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. I have no doubt that The Lighthouse will arrive on many best-of film lists, and each writer will almost certainly have a unique takeaway because the film juggles so much material all at once.
There are a few key moments in the film which best portray this growing anxiety over queerness. One of which is a brief intimate moment between the two keepers. After a storm locks them inside the lighthouse, they take a break from the harsh physical upkeep of the lighthouse to indulge in plenty of dancing, singing, and drinking. We suddenly jump from a shot of their frantic dancing to a close-up of the two locked in a tender embrace.
Wake mutters sweet nothings to Winslow under his breath, and the two nearly go in for a kiss, before Winslow violently shoves Wake away from him and they begin to fight. Both have candidly discussed casual, heterosexual intercourse already, but nothing so explicitly homoerotic. Initially, he finds the mermaid wreathed in seaweed on the rocks during his rounds. He explores her body lustfully, groping at her breast, but as he discovers gills at her hips, he is horrified.
When she awakens, bearing an enthusiastic grin, Winslow flees the mermaid in a blind panic, running straight back to Wake in the lighthouse. She lets out a screech that clearly cannot allure him; if this mermaid is a temptress, Winslow is not interested at all. Then, we see Winslow masturbate to the mermaid statuette he hidden inside.
Winslow arrives at the climax with a bestial howl, but the last image we see in this hallucinatory moment is the face of that man whom Winslow is revealed to have murdered. These two moments are key in charting the progression of the film's latent queerness. The longer Winslows stays with Wake, the further he descends into madness because he is working harder to ignore that attraction.
His attempts at repression continue to take a greater toll on his sanity. Crucially, it is not the homoeroticism that causes his slippage, but his refusal to accept and acknowledge it. Of course, this respite is incredibly short-lived, as Winslow falls to his death very shortly thereafter. This reading is not at all designed to downplay any of the other thematic concerns of the film.
the witch (2015)
Eggers draws from a wealth of influences to dramatize the lighthouse keepers' complicated relationship. Without their fraught, toxic relationship at the core, we could not possibly explore how either character truly feels. Skip to main content. Spoilers below. Back to Search Results.