Hlynur Pálmason
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But there’s also a marvelously odd vein of sneaky humor running through it, along with an unpredictability that keeps you glued. In terms of scope, it recalls Martin Scorsese’s Silence, while its taunting questions about the limits of piety call to mind John Michael McDonagh’s criminally underseen Calvary.
His mounting rage and arrogance recall those of the young new keeper of “The Lighthouse” from Robert Eggers’ film, but rather than originating in primal urges and trauma, Lucas’ behavior and self-questioning evolves in a much more political and historical context.