The Contemporary Gothic: A Study in the Films of Robert Eggers

by Reese Hurd

Gothic horror seems to have made an odd comeback, particularly in modern film adaptations of classic gothic literature. I have a great passion for gothic literature, so I’m definitely in favor! I’d love for this kind of filmmaking to flourish. Personally, my favorites are films directed by Robert Eggers. His recent works have dominated fans’ and critics’ attention as he has taken a main role in the gothic film revival. So, what do they have to offer?

The Lighthouse (2019): 

This film follows two lighthouse keepers as they loosely hold onto their sanity. While they both suffer the harsh and isolating conditions of a remote island in 1890s New England, the walls between delusion and reality come crashing down. Themes of madness recall gothic authors such as Edgar Allan Poe as the film tackles American Gothic. Eggers also captures the grittiness and despair of the working class through his cinematography. The Lighthouse is shot entirely on black and white film, giving life to its iconically bleak tone. The plot is also brilliantly slow paced. Each scene forces the viewer into the agonizingly stagnant passage of time on the island.

Nosferatu (2024): 

Robert Eggers’s Nosferatu can be considered one of, if not the most, loyal film adaptation of Bram Stoker’s original Dracula. The film follows the original plot almost exactly. A haunted young woman suffers through a vampire’s infatuation with her. In conversation with the expressionistic shadows of F.W. Murnau’s 1922 film, Nosferatu, Eggers tells her story. Though it is shot in color, the film is so immensely desaturated that it almost appears as monochrome. This technique takes advantage of modern technology to emulate the black and white films of the 1920s. Nosferatu also addresses almost every trope within the gothic genre. It presents no shortage of insanity, castles, and monsters lurking within the shadows- an extremely noteworthy addition to contemporary gothic.

Coming Soon: Werwulf (2026):

In his plans to continue the gothic film revival, Eggers has just recently wrapped on his upcoming film, Werwulf. The film takes place in 13th century England as it follows a small village enduring the hauntings of a mysterious creature, presenting us with a world where folklore turns into a horrifying reality. Eggers will most likely maintain his distinct use of dark shadows as he captures the folklore and time period with complete authenticity. It is also to be expected that Werwulf will remain loyal to the gothic through both cinematography and atmosphere. The 13th century marks a high point for Gothic architecture throughout England, so the skillful use of these eerie settings is guaranteed. This time around, he might scare away mainstream audiences, as the film’s dialogue will be entirely in Middle English. Eggers himself has also claimed that the script is the darkest he’s written yet. As an avid gothic horror fan, I’m hoping that the film delivers in every way that it promises and that this resurgence of the genre continues in the film industry.

Some 21st Century Gothic Horror

“The Specialist’s Hat” – Kelly Link (2001)

In the aftermath of their mother’s death, two sisters living in an old house develop a strange coping mechanism. And the story only gets stranger from there. 

You can read the full story on Kelly’s website:

“Ghosts With Teeth” – Peter Crowther (2012)

Hugh wakes up in the ruins of his house. There are bloodstains on the floor, sirens keening outside, and a rhythmic pounding on the door. The horror only deepens when you learn what happened. 

Originally collected in A Book of Horrors (2012)

“A Bruise the Shape and Size of a Door Handle” – Daisy Johnson (2017)

Upon moving into her father’s house, Salma falls for a girl named Margot. 

Things complicate further when a jealous, violent third party inserts itself into their relationship: the house itself. 

You can read the full story here:

“The Houseguest” – Amparo Davila (2018)

A housewife’s home gets a little more crowded when her husband announces that they’ll be hosting a guest. Things grow tense when the wife begins to suspect that their guest isn’t human.

Originally collected in The Houseguest and Other Stories (2018)