'Perhaps it’s Eggers’s apparent desire to step into a more mainstream, big-budget lane that watered down his previously incisive examinations of masculinity.' | Colleen Morrissey
. If you’re a fan of writer-director Robert Eggers, you might expect something weirder, along the lines of his previous triumphs in the horror/suspense genre. If you bought a ticket based on the trailers alone, knowing nothing of the celebrated auteur behind the film, you might expect something more straightforward: the gritty, action-adventure extravaganza promised by shots of Alexander Skarsgård catching spears midair.
Perhaps it’s Eggers’s apparent desire to step into a more mainstream, big-budget lane that watered down his previously incisive examinations of masculinity. In, a father’s righteous convictions threaten his family with starvation and eventually damn them all. In the deliciously bizarre, two men are forced to face their own ambiguous desires and fears in deep isolation, leading to violently erotic encounters with each other, a mermaid, and the lighthouse itself.
Eggers’s succumbing to Viking nostalgia can be read as part and parcel of the recent surge of similarly nostalgic films that imagine a more epic, more authentic past, specifically a British and Scandinavian one. Last year’salso depicts a medieval warrior, this time an Arthurian knight, maturing through magical and emotional trials. transposes contemporary discourse around sexual assault onto poignantly antiquated trial-by-combat.
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