In High Life, the Claire Denis astro-thriller released earlier this year, Robert Pattinsonâs prisoner, in a remarkable display of restraint, abstains from wanking in âThe Box,â a metallic masturbation room housed in the most fucked-up spaceship imaginable. Not so in The Lighthouse. In fact, the future Batman tugged himself off with such vigor, such frenzied commitment, it charmed his director.
âOn day one we shot Rob masturbating in the shedâitâs the very first thing we shotâand Rob really, really went for it,â the filmâs director, Robert Eggers, recalls. âAnd you know, it was inspiring.â
Set in the 19th century and shot in stunning, boxy black-and-white, The Lighthouse tells the tale of two lighthouse keepers, grizzled vet Thomas (Willem Dafoe, in full Ahab mode) and green Ephraim (Pattinson), whose isolation, combined with a plethora of potent booze, drives them to madness.
Dafoe, whom Eggers calls âone of his heroes,â reached out to the filmmaker after seeing his Puritan horror movie The Witch, keen to work on a project togetherâas did Pattinson, whose involvement came with one major caveat: âIâm only interested in things that are weird.â
And weird this is.
Theirs is akin to a master-slave relationship, and as Thomasâ treatment of Ephraim worsens, and as more booze spilleth, the young chargeâs hallucinatory visions become more and more intenseâas do his masturbation fantasies. According to Eggers, the film was meant to include âa very juvenile shot of a lighthouse moving like an erect penis and a match-cut to an actual erect penisâ belonging to Pattinsonâs character, but the financiers demanded that it be cut for ratings purposes.
Yet that pales in comparison to what actually made it into the film. In what may be the most bonkers movie sex sequence of the year (sorry, Midsommar), the lonely laborer imagines that his pocket-size mermaid carving has come to slithery life (played by Valeriia Karaman), beckoning him on the beach, waves crashing all around her.
âWhen youâre on the southern tip of Nova Scotia in March or April, itâs gale-force winds, and youâre getting sprayed in the face with a firehose, itâs coldâto put it mildly,â says a chuckling Eggers.
Ephraim approaches, and as he does, the mermaid spreads her tail to reveal, well, an elaborate mermaid vagina. The seaman mounts her, and starts pumping away in the sand; all the while, a series of grotesquely beautiful images flash onscreen, from slippery tentacles to the aforementioned mermaid parts in extreme close-up.
âIt was very pre-planned and storyboarded,â says Eggers. âThe design of the mermaidâs genitalsâbased on shark labiasâwas all planned out, and what we call the âseafood saladâ shots, or the writhing tentacles and fish, those were tricky to figure out on the day.â
The mermaid labia was constructed entirely out of silicone, and the mention of it causes Eggers to offer up a rather detailed backstory. âThe mermaid on the Starbucks cup that has two tails is based on an early mermaid design. Medieval and Renaissance mermaids were always split so that these anima figures of male fantasy could perform their role that had been unfairly thrust upon them by their male imaginers,â he explains. âBut no surprise that in the Victorian Era, they closed the mermaids up and made them impenetrable. So that single-tail mermaid silhouette has become the archetypal mermaid look for people today, and also what a mermaid would have looked like in the period of the movie.â
He pauses. âBut we still had to figure out how mermaids can copulate and create more mermaids. So, we studied shark genitals.â
The Lighthouseâs trippy mermaid-sex sequence was shot in less than a dayâthey shot the entire film in 35 days, after allâand a memory of it has been immortalized in Eggersâ iPhone.
âThereâs a behind-the-scenes photo on my phone of Rob and Valeriia in blankets in-between takes smoking their Juuls,â he concedes with a laugh.