By Mónica Delgado

What a better figure that the one of an imposing lighthouse to inquire about masculine fears? If in The Witch (2015), American filmmaker Robert Eggers explores the fears of trickeries and religious precepts in a community of New England in the seventeenth century, in The Lighthouse (2019), he stops in two solitary characters trapped in an island at the end of the nineteenth century, who survive among hallucinations, the effects of alcohol and the majesty of a lighthouse (the father, the libido or the symbolic power) which rules it all.