The Robert Eggers movie The Lighthouse has gotten a 4K Ultra HD upgrade from A24 in the form of a Special Collector’s Edition release that’s now available from their online shop.
The Special collector’s edition of Robert Eggers’ The Lighthouse is available in Standard Blu-ray and—for the very first time!—4K Uhd with a new Hdr master.
Featuring original artwork by Tobias Kaspar and a 64-page interior booklet, the printed discpack comes enclosed in an embossed wave-textured slipcase.
Disc extras include:
Exclusive mini documentary on composer Mark Korven Costume walkthrough and interview with costume designer Linda Muir 2019 making-of featurette Deleted scenes
Book contents include:
Storyboard excerpts by David Cullen Production design drawings by Craig Lathrop BTS photography by Eric Chakeen Bib-front shirt pattern made by Marvin Schlichting to Linda Muir’s design
You can grab your copy on Blu-ray ($45) or 4K Uhd ($47) from A24’s website right now.
The Special collector’s edition of Robert Eggers’ The Lighthouse is available in Standard Blu-ray and—for the very first time!—4K Uhd with a new Hdr master.
Featuring original artwork by Tobias Kaspar and a 64-page interior booklet, the printed discpack comes enclosed in an embossed wave-textured slipcase.
Disc extras include:
Exclusive mini documentary on composer Mark Korven Costume walkthrough and interview with costume designer Linda Muir 2019 making-of featurette Deleted scenes
Book contents include:
Storyboard excerpts by David Cullen Production design drawings by Craig Lathrop BTS photography by Eric Chakeen Bib-front shirt pattern made by Marvin Schlichting to Linda Muir’s design
You can grab your copy on Blu-ray ($45) or 4K Uhd ($47) from A24’s website right now.
- 3/20/2023
- by John Squires
- bloody-disgusting.com
Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages are Davis’ assessment of the current standings of the race and do not reflect personal preferences for any film or performance. Like any organization or body that votes, each individual category is fluid and subject to change. Predictions are updated every Thursday.
Last Updated: Oct. 20, 2022
2023 Oscars Predictions: Best Production Design Thirteen Lives, from left: Thira Chutikul, Viggo Mortensen, 2022. ph: Vince Valitutti / © MGM / Courtesy Everett Collection
Category Commentary: More to come…
See the latest film predictions, in all 23 categories, in one place on Variety’s Oscars Collective.
To see the ranked predictions for each individual category, visit Variety’s Oscars Hub.
All Awards Contenders And Rankings:
And...
Last Updated: Oct. 20, 2022
2023 Oscars Predictions: Best Production Design Thirteen Lives, from left: Thira Chutikul, Viggo Mortensen, 2022. ph: Vince Valitutti / © MGM / Courtesy Everett Collection
Category Commentary: More to come…
See the latest film predictions, in all 23 categories, in one place on Variety’s Oscars Collective.
To see the ranked predictions for each individual category, visit Variety’s Oscars Hub.
All Awards Contenders And Rankings:
And...
- 10/21/2022
- by Clayton Davis
- Variety Film + TV
Robert Eggers’s viking epic, “The Northman,” has been out for a few weeks now, and while it hasn’t done huge business at the box office – about 31 million as of this writing – it’s an interesting release for early potential awards conversations.
Eggers burst onto the scene in 2015 when his debut feature “The Witch” premiered at the Sundance Film Festival, where the filmmaker received a jury prize for his direction. It wouldn’t be released by A24 until a year later, at which point it continued to achieve acclaim, winning two Indie Spirit awards in February 2017 for Best First Feature and Best First Screenplay.
Eggers’s latest movie stars Alexander Skarsgård as Amleth, who, as a young Nordic prince, was chased from his home after his father, King Aurvandil (Ethan Hawke), is brutally murdered by his brother Fjölnir (Claes Bang). Decades later Amleth has become a Viking berserker, but...
Eggers burst onto the scene in 2015 when his debut feature “The Witch” premiered at the Sundance Film Festival, where the filmmaker received a jury prize for his direction. It wouldn’t be released by A24 until a year later, at which point it continued to achieve acclaim, winning two Indie Spirit awards in February 2017 for Best First Feature and Best First Screenplay.
Eggers’s latest movie stars Alexander Skarsgård as Amleth, who, as a young Nordic prince, was chased from his home after his father, King Aurvandil (Ethan Hawke), is brutally murdered by his brother Fjölnir (Claes Bang). Decades later Amleth has become a Viking berserker, but...
- 5/16/2022
- by Edward Douglas
- Gold Derby
Alexander Skarsgård delivers a wholly remarkable performance as the lead in the new film, The Northman, from visionary director Robert Eggers.
On the verge of manhood, Prince Amleth (Oscar Novak) witnesses his father’s (Ethan Hawke) murder at his uncle’s hand. Two decades later, a grown Amleth (Skarsgård), undertakes a quest to rescue his mother (Nicole Kidman) from his murderous uncle and avenge his father.
Director Robert Eggers imbues all of the moodiness and artistic flourish he exhibited in his earlier films such as The Lighthouse (2019) and The Witch (2015). Written along with acclaimed Icelandic author Sjón, Eggers’ script is unrelenting in its portrayal of Amleth’s struggles and associated hardships. But what is refreshing is that it never feels as though Amleth’s sole purpose for existing is to exact revenge for his father. Instead, it plays as though he is more intent on trying to live some sort...
On the verge of manhood, Prince Amleth (Oscar Novak) witnesses his father’s (Ethan Hawke) murder at his uncle’s hand. Two decades later, a grown Amleth (Skarsgård), undertakes a quest to rescue his mother (Nicole Kidman) from his murderous uncle and avenge his father.
Director Robert Eggers imbues all of the moodiness and artistic flourish he exhibited in his earlier films such as The Lighthouse (2019) and The Witch (2015). Written along with acclaimed Icelandic author Sjón, Eggers’ script is unrelenting in its portrayal of Amleth’s struggles and associated hardships. But what is refreshing is that it never feels as though Amleth’s sole purpose for existing is to exact revenge for his father. Instead, it plays as though he is more intent on trying to live some sort...
- 4/22/2022
- by Mike Tyrkus
- CinemaNerdz
Without a doubt, Robert Eggers’ “The Northman” traffics in his now-usual brand of haunted atmospherics and wonky mysticism, a signature whose intensity is upped by the savage bloodlust of its characters and the vastitudes of his first big-budget epic with a price tag reportedly hovering between 70 million and 90 million.
The only thing more intensely stressed than the dilemma of a Viking prince in the year 895 played to brutal, muscular perfection by Alexander Skarsgård, is the all-consuming dedication of its tactile production design, its brooding, cinematographic ambiance and the craftsmanship of its furry, hierarchical costuming.
For the craggy look and authentic feel of “The Northman,” credit Eggers’ forever production designer Craig Lathrop, cinematographer Jarin Blaschke and costume designer Linda Muir, the team that worked closely with the director on his 2015 feature debut, “The Witch,” and also 2019’s “The Lighthouse.”
Lathrop says that save for having bigger budgets and scale for its sets in Ireland and Iceland,...
The only thing more intensely stressed than the dilemma of a Viking prince in the year 895 played to brutal, muscular perfection by Alexander Skarsgård, is the all-consuming dedication of its tactile production design, its brooding, cinematographic ambiance and the craftsmanship of its furry, hierarchical costuming.
For the craggy look and authentic feel of “The Northman,” credit Eggers’ forever production designer Craig Lathrop, cinematographer Jarin Blaschke and costume designer Linda Muir, the team that worked closely with the director on his 2015 feature debut, “The Witch,” and also 2019’s “The Lighthouse.”
Lathrop says that save for having bigger budgets and scale for its sets in Ireland and Iceland,...
- 4/21/2022
- by A.D. Amorosi
- Variety Film + TV
Revenge is a dish best served cold, and it doesn’t get any colder, literally or figuratively, than the bitter portion ladled up in Robert Eggers’ merciless yarn of medieval vengeance, The Northman. This seriously nasty and violent tale comes across as an intense labor of love on the part of the American director and his Icelandic co-writer, the poet Sjón; there’s scarcely a moment of softness, sentiment or relaxation here, just fierce and ferocious determination to fight and prevail in an unstintingly harsh environment. For the most part it’s an enthralling immersion in a forbidding time and place, enhanced by an immoderately attractive cast and saddled only by a dramatic sameness that settles in after a while and gradually diminishes the film’s impact.
There haven’t been too many Viking movies, most likely because the time and place involved pretty seriously restrict the format to two things—sailing and marauding,...
There haven’t been too many Viking movies, most likely because the time and place involved pretty seriously restrict the format to two things—sailing and marauding,...
- 4/11/2022
- by Todd McCarthy
- Deadline Film + TV
For The Northman, co-writer/director Robert Eggers transports audiences to the year 895 Ad for his epic Viking tale fueled by vengeance, betrayal, and blood. At the start, we’re introduced to King Aurvandil (Ethan Hawke), who is returning from battle and welcomed warmly by his wife, Queen Gudrún (Nicole Kidman), and his young son and heir to the throne, Amleth (played by Oscar Novak). After undergoing a rite of passage that helps young Amleth continue his journey towards adulthood, Aurvandil’s devious brother, Fjölnir (Claes Bang), decides to betray his family by mercilessly slaughtering his brother and kidnapping Queen Gudrún as a means of claiming her as his own. Amleth manages to escape before Fjölnir’s henchmen can kill him, and as the young man leaves everything and everyone he knows behind, Amleth makes a promise to himself that one day he will avenge his father’s murder and rescue...
- 4/11/2022
- by Heather Wixson
- DailyDead
A lone rider on horseback; a child’s oath of vengeance upon the sight of a beheaded parent; a burly, statuesque, and shirtless he-man swinging a sword into battle while lit only by the glow of wildfire. All of these things could be used to describe the joy of ‘80s beefcake action movies, a la Conan: The Barbarian (1982) or The Beastmaster (1982). But such images are given new and startling life in the first trailer for Robert Eggers’ The Northman.
This highly anticipated 2021 release is writer-director Eggers’ first step outside the horror genre (and A24) after the one-two punch of The Witch (2016) and The Lighthouse (2019). And The Northman looks like a blood-soaked throwback to the kind of swords and bicep movies they don’t make anymore, with Alexander Skarsgård’s Amleth swearing vengeance on Fjölnir (Claes Bang), the man who killed his father. However, given the pedigree of everyone involved, including Nicole Kidman,...
This highly anticipated 2021 release is writer-director Eggers’ first step outside the horror genre (and A24) after the one-two punch of The Witch (2016) and The Lighthouse (2019). And The Northman looks like a blood-soaked throwback to the kind of swords and bicep movies they don’t make anymore, with Alexander Skarsgård’s Amleth swearing vengeance on Fjölnir (Claes Bang), the man who killed his father. However, given the pedigree of everyone involved, including Nicole Kidman,...
- 12/20/2021
- by David Crow
- Den of Geek
You couldn’t find a more unlikely Oscar contender than “The Lighthouse,” Robert Eggers‘ bizarre period horror film. Yet the A24 release about two lighthouse keepers (Robert Pattinson and Willem Dafoe) slowly going mad from isolation has had a strong showing at the Independent Spirits and Critics Choice Awards, so the black-and-white fever dream could soon infect the minds of Academy voters.
Gold Derby recently conducted video interviews with Dafoe, cinematographer Jarin Blaschke and production designer Craig Lathrop. Scroll down and click on any name below to be taken to their full chat.
See ‘The Lighthouse’ and ‘Uncut Gems’ lead Independent Spirit nominations, ‘Marriage Story’ gets Robert Altman Award
While it’s hard to really categorize the film, Dafoe does his noble best. “Sometimes it’s very funny. Sometimes it’s very dark. Sometimes it’s very heavy,” he explains. “It’s not really horror in the usual jump-scare horror way,...
Gold Derby recently conducted video interviews with Dafoe, cinematographer Jarin Blaschke and production designer Craig Lathrop. Scroll down and click on any name below to be taken to their full chat.
See ‘The Lighthouse’ and ‘Uncut Gems’ lead Independent Spirit nominations, ‘Marriage Story’ gets Robert Altman Award
While it’s hard to really categorize the film, Dafoe does his noble best. “Sometimes it’s very funny. Sometimes it’s very dark. Sometimes it’s very heavy,” he explains. “It’s not really horror in the usual jump-scare horror way,...
- 12/26/2019
- by Zach Laws
- Gold Derby
In his latest film, “The Lighthouse,” director Robert Eggers shot the film in black and white in a 1.19:1 aspect ratio. The film tells the story of lighthouse keepers (played by Robert Pattinson and Willem Dafoe) who end up stranded on a remote island after violent storms trap them. The duo start to lose their sanity and as Eggers says, “Something about black and white was going to bring the story to life and to a new level.”
Dafoe adds, “The choice of black and white and aspect ratio informed everything we did.” He continues, “The visual language was so specific, you can’t separate character from the location.”
Craig Lathrop, the film’s production designer, searched for the perfect lighthouse location and eventually found one in Australia, but due to the weight, realized it was better to build it from scratch. Lathrop ended up building the 7-foot lighthouse tower and the keeper’s cottage.
Dafoe adds, “The choice of black and white and aspect ratio informed everything we did.” He continues, “The visual language was so specific, you can’t separate character from the location.”
Craig Lathrop, the film’s production designer, searched for the perfect lighthouse location and eventually found one in Australia, but due to the weight, realized it was better to build it from scratch. Lathrop ended up building the 7-foot lighthouse tower and the keeper’s cottage.
- 11/18/2019
- by Jazz Tangcay
- Variety Film + TV
After reading Robert Eggers‘s “crazy, brilliant script” for “The Lighthouse,” production designer Craig Lathrop realized he would have to build that title set as opposed to finding one on location. This, of course, would be a “challenge,” since it required “a very small base” for “a very tall structure that could tip over.” Watch our exclusive video interview with Lathrop above.
This A24 release centers on two lighthouse keepers — the young Ephraim Winslow (Robert Pattinson) and the grizzled Thomas Wake (Willem Dafoe) — who slowly drive each other mad as they spend more time together in isolation. Set in the early 1890s, the film required “a period lighthouse, really on a spit of land” as opposed to “an island,” with a light keeper’s house on the side. It also needed to be “a bit dilapidated,” and most lighthouses from that period “are in museums” where they are “beautifully maintained,...
This A24 release centers on two lighthouse keepers — the young Ephraim Winslow (Robert Pattinson) and the grizzled Thomas Wake (Willem Dafoe) — who slowly drive each other mad as they spend more time together in isolation. Set in the early 1890s, the film required “a period lighthouse, really on a spit of land” as opposed to “an island,” with a light keeper’s house on the side. It also needed to be “a bit dilapidated,” and most lighthouses from that period “are in museums” where they are “beautifully maintained,...
- 11/5/2019
- by Zach Laws
- Gold Derby
Regardless of where your feelings lie on writer/director Robert Eggers’ disturbed buddy movie from hell “The Lighthouse,” one thing’s for certain: you won’t walk out unscathed by the powerful performances of the birds on display.
Throughout the film, which finds Robert Pattinson and Willem Dafoe stuck together as mad lighthouse keepers on a New England island in the late 19th century, seagulls peck and pry them, representing the maw of death always nibbling at the edges of sanity. Jezebel’s Rich Juzwiak recently spoke to Guillaume Grange, the French animal trainer who wrangled those seagulls, and Grange said these birds were particularly sensitive.
“Seagulls are not very brave, and they’re very fragile. Their wings are very thin. They always worry about everything,” he told Jezebel, adding, “If something worries them even slightly, they regurgitate all the food out. You always have to be very careful with them.
Throughout the film, which finds Robert Pattinson and Willem Dafoe stuck together as mad lighthouse keepers on a New England island in the late 19th century, seagulls peck and pry them, representing the maw of death always nibbling at the edges of sanity. Jezebel’s Rich Juzwiak recently spoke to Guillaume Grange, the French animal trainer who wrangled those seagulls, and Grange said these birds were particularly sensitive.
“Seagulls are not very brave, and they’re very fragile. Their wings are very thin. They always worry about everything,” he told Jezebel, adding, “If something worries them even slightly, they regurgitate all the food out. You always have to be very careful with them.
- 11/2/2019
- by Ryan Lattanzio
- Indiewire
“The Lighthouse” marks the latest attempt by director Robert Eggers (“The Witch”) to make a visually Gothic brand of silent cinema in the 21st century. It’s an isolated, maddening, black-and-white tour de force for 19th century lighthouse keepers Willem Dafoe and Robert Pattinson to break each other down both psychologically and physically. Think of it as another tune-up for his “Nosferatu” remake. Shot by Eggers’ go-to cinematographer Jarin Blaschke, it appropriately boasts the square 1.19:1 aspect ratio of silent movies.
And Eggers’ trusty production designer Craig Lathrop was instrumental in building the right environment in Nova Scotia to help deliver the horrifying mood, including an authentic lighthouse illuminated by a Fresnel lens replica that could shine for 16 miles. “The film itself feels old and shingled, you’re transported back to a different time,” he said. “And the claustrophobic sense lends itself to the boxy framing. It was a beautiful choice.
And Eggers’ trusty production designer Craig Lathrop was instrumental in building the right environment in Nova Scotia to help deliver the horrifying mood, including an authentic lighthouse illuminated by a Fresnel lens replica that could shine for 16 miles. “The film itself feels old and shingled, you’re transported back to a different time,” he said. “And the claustrophobic sense lends itself to the boxy framing. It was a beautiful choice.
- 10/23/2019
- by Bill Desowitz
- Indiewire
David Crow Oct 14, 2019
Robert Eggers talks The Lighthouse's influences, its relationship with The Witch, and why it's the rare movie that needed a square frame.
By his own admission, director Robert Eggers wanted to achieve a level of craft on his second film that was beyond his years in experience. While already considered a budding auteur for his work on The Witch, the masterful chiller that won him the Directing Award at the Sundance Film Festival, he and cinematographer Jarin Blaschke chose to escalate the challenge of The Lighthouse by shooting the new movie on black and white film stock and in a 1.19:1 aspect ratio—an almost perfectly square frame not widely seen since German talkies in the early 1930s.
As Eggers explains to us, “I remember saying to Craig Lathrop, the production designer of The Witch, when we were kind of finishing up that movie, ‘I want to make this lighthouse movie,...
Robert Eggers talks The Lighthouse's influences, its relationship with The Witch, and why it's the rare movie that needed a square frame.
By his own admission, director Robert Eggers wanted to achieve a level of craft on his second film that was beyond his years in experience. While already considered a budding auteur for his work on The Witch, the masterful chiller that won him the Directing Award at the Sundance Film Festival, he and cinematographer Jarin Blaschke chose to escalate the challenge of The Lighthouse by shooting the new movie on black and white film stock and in a 1.19:1 aspect ratio—an almost perfectly square frame not widely seen since German talkies in the early 1930s.
As Eggers explains to us, “I remember saying to Craig Lathrop, the production designer of The Witch, when we were kind of finishing up that movie, ‘I want to make this lighthouse movie,...
- 10/14/2019
- Den of Geek
This Friday, A24 releases the powerful new horror movie, The Witch, which was written and directed by Robert Eggers. His debut feature stars Anya Taylor-Joy as Thomasin, a young woman who is uprooted alongside the rest of her family and forced to relocate to a plantation on the cusp of an ominous forest containing otherworldly dangers that threaten to tear her entire family apart.
Daily Dead recently had the opportunity to speak with both Eggers and Taylor-Joy at the press day for The Witch; here’s what the duo had to say about what inspired Eggers’ directorial debut, preparing for the project, and much more.
Robert, I know your background before directing was that you were working in other aspects of filmmaking in terms of costumes and stuff like that. How much did having that kind of visual background help you to prepare for making The Witch?
Robert Eggers:...
Daily Dead recently had the opportunity to speak with both Eggers and Taylor-Joy at the press day for The Witch; here’s what the duo had to say about what inspired Eggers’ directorial debut, preparing for the project, and much more.
Robert, I know your background before directing was that you were working in other aspects of filmmaking in terms of costumes and stuff like that. How much did having that kind of visual background help you to prepare for making The Witch?
Robert Eggers:...
- 2/18/2016
- by Heather Wixson
- DailyDead
Park City - One of the downsides of spending a life mainlining genre films is that there comes a point where you start to feel like you've seen everything and there's no way to be surprised. "The Witch" surprised me. Quite a bit. Writer/director Robert Eggers deserves accolades for crafting something that feels timeless. His "New England folk tale" begins with a family standing before a Puritan court in a small plantation town in 1630. William (Ralph Ineson) and Katherine (Kate Dickie) stand accused of blasphemy, and William refuses to bend to the will of the court, convinced that he is a true Christian in a way that none of them can be. They are ejected from the community, and William sees it as an opportunity. He leads his family out into the wilderness, where they find a cleared area on the edge of a massive forest. They build their home there,...
- 1/24/2015
- by Drew McWeeny
- Hitfix
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