The film impresses us with black and white images with a 1.19:1 format and extreme light ratio, and the mental state of the characters in the dilemma of the isolated island tells the story of a young tramp and an experienced lighthouse keeper at the end of the 19th century. A desolate island ravaged by storms all year round. Their task was to operate and maintain a completely isolated lighthouse during the cold winter months. The film builds up a wealth of ambiguity that makes it accessible from any angle: it can be a Freudian psychological thriller, or a Greek mythology, but it can really explain the film in its entirety. Of course, the film system is still the myth of Cthulhu. For example, Wick's reverence for the lighthouse is mystical, suggesting that there is a supernatural force at work. Whether this suggestion can become a reality depends on our understanding of the film. "Melancholy is more evil than the devil," said Wick, always salty nautical truth. However, the remarks heralded great chaos to come. Apparently, to avoid oppressive boredom, the rapport male relationship between Wick and Winslow gradually morphed into hostility, and then total madness. In the film, director Robert Eggers continues his tradition of finding evil in the mundane in The Witch. Every camera movement in the film is haunted, and every detail in the scene is carefully placed. With just one scene and two actors, Eggers creates a universe that is visceral and otherworldly. The film adopts the gothic style of silent films, with an aesthetic inspired by Fritz Lang's M is the Killer. The film technology and lens language in the film are a hundred years old. The character in the shot is a hundred years old, and the person holding the camera is like a hundred years ago. In the end, the effect is as if this is not a period drama, but a fashion film made by a crew that travels back to a hundred years ago.
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