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This extends to the film’s climax, when Ellen realizes that surrender—which she has resisted for the entire story—may be the only act capable of saving everyone.

Eggers is as comfortable with a fart joke as he is with Lovecraftian imagery, and there’s something about the vulgar banter from old-world sailors that makes it all cohere, as if the only way to cope with hallucinations of many-tentacled beasts is through an appreciation of the absurd. But once I had the first draft of the script, it didn’t change a whole heck of a lot in terms of what I wanted the film to be.

In “Dracula,” the book by Bram Stoker, the vampire is coming to England, seemingly, for world domination. Still, the film’s versatility goes beyond its mixture of comedy and suspense, as there are countless themes woven throughout: that of repressed homoeroticism, Greek mythologies, German expressionism, surrealism, post-traumatic stress disorder, alcoholism…

“The Lighthouse” is a remarkably rare instance in which the technical aspects are married so beautifully to the narrative elements that they enhance one another.

Her melancholy worsens when her husband—doting but hapless real estate agent Thomas (Nicholas Hoult)—is sent to negotiate a property deal with a reclusive Transylvanian nobleman. And then there’s “Faust” and “Sunrise” and “The Last Laugh”—you name it, I’ve just seen these films a lot. 

The one shot that points to “Faust,” and also Archie Mayo’s “Svengali,” is the shot of Orlok’s hand over the city.

In “Nosferatu,” 19th-century ideas of gender and mental health interact with timeless anxieties about sex and desire, and drive the horror as much as the film’s supernatural elements.

These anxieties find their nexus in Ellen. Its presence ties to Winslow’s sexual frustration and the sea’s mysterious pull.

The film’s black-and-white cinematography and 1.19:1 aspect ratio enhance its claustrophobic atmosphere, symbolizing the characters’ entrapment.

Growing up in New Hampshire, Eggers first encountered Orlok as a 9-year-old, on a VHS copy of Murnau’s “Nosferatu” made from a faded 16-millimeter print. In those scenes, Depp blends desire and revulsion in a way that’s both compelling and difficult to watch.

“Nosferatu” is interested in how women’s sexuality (and particularly sexual desire) is demonized and exploited by patriarchal powers.

There is a special kind of giddiness that comes about from seeing such an idiosyncratic vision so fully realized. Tasked with maintaining the lighthouse, the men endure grueling labor, harsh weather, and increasing isolation. When she’s responding to Orlok, her eyes roll back, her spine snaps into an arch, her entire body shudders.

The final shot shows him naked on the rocks, seagulls pecking at his entrails, echoing Prometheus’ punishment for stealing divine fire.

The lighthouse ending is deliberately ambiguous. Sometimes, we’re more successful than others. 

I would also put out there that the biggest cinematic influence on the film, aside from Murnau, is Jack Clayton’s “The Innocents.” It’s also Freddie Francis, the cinematographer, and his staging in not only that film, which was obviously done with Jack Clayton, but also his films as a director.

I rewatched “The Innocents” recently and was taken aback to find it more psychologically complex and sexually charged than I’d remembered.

It’s heavy-duty.

The lighthouse explained thus hinges on personal interpretation, with the ending inviting viewers to ponder the cost of obsession and the nature of reality.

Theories on the Movie The Lighthouse by ExplainedThis.com

Several theories deepen our understanding of the lighthouse movie.

1. The Mythological Theory posits that Wake and Winslow embody Proteus and Prometheus, respectively.

   Wake, a seasoned and superstitious keeper, exerts domineering control, forbidding Winslow from accessing the lantern room’s mesmerizing light. It was clear to me then that she had it and that she was going to succeed.

   “Nosferatu” is now in theaters, via Focus Features.