Robert Eggers is well equipped to tell stories full of abhorrent beings and often mad human behavior. The famous example here being The Lighthouse, just one of his entries to instill gruesome images into one’s mind like an intrusive thought (i.e., the mermaid scene). So disgusting yet framed so beautifully—it’s impossible not to get turned on. Many have often wondered how Eggers would then update the classic Nosferatu tale, and others were skeptical with the casting of Lily-Rose Depp as Ellen Hutter, replacing Anya Taylor-Joy. All objections are dispelled as praise for her performance is deservedly universal, and I don’t need to say more on that—she’s wonderful in her role. Eggers’ Nosferatu stands as the definitive adaptation, proving himself as the only director capable of crafting a version that truly terrifies and captivates its audience.
Drawing from its source material, Bram Stoker’s 1897 novel Dracula, Nosferatu follows Ellen Hutter’s prolonged psychological journey with the enigmatic vampire Count Orlock (Bill Skarsgård) and his plague upon the fictional town of Wisborg, Germany. Sent on a real estate deal to the titular vampire’s castle, Thomas Hutter (Nicholas Hoult) unknowingly signs away his wife to the Count and is terrorized by the vampire for days on end, unleashing a power that could kill everyone in its midst. The exceptional ensemble also includes Willem Dafoe as Prof. Albin Eberhart von Franz, Aaron Taylor-Johnson as Friedrich Harding, Emma Corrin as Anne Harding, and Ralph Ineson as Dr. Wilhelm Sievers.
What’s particularly impressive is the film’s opening dream sequence. Establishing a sort of dark Victorian gothic feature that impresses on the aesthetic of the film: moody 1800s lighting, near black and white macabre coloring, and an eerie ghostly presence—something much more frightening than the vampires we’re accustomed to. Cinematographer Jarin Blaschke, having worked with Eggers on all his previous feature-length films, is well attuned to the historical aesthetics of Eggers’ filmography.
Nosferatu’s design may come as a surprise to those familiar with the original 1922 film or Werner Herzog’s Nosferatu the Vampyre. It’s much more freakish—there are no traces left of Bill Skarsgård, as he is entirely covered in prosthetics. His inhuman body resembles a certain monster in this year’s The Substance. He’s gross looking, but his body stature moves with a hint of eroticism and sexual allure when he drains his victims of their blood.
The costume design here (done by Linda Muir, another frequent collaborator) also establishes the authenticity of the film’s atmosphere, with the pieces taking on the distinct Germanic aspect of the Victorian 1830s period. Many of the costumes were modeled on illustrations and paintings that Muir came across, as well as drawing inspiration from the characters’ internal struggles. As strikingly beautiful as Ellen Hutter’s costumes seem, they are of necessity for that time in comparison to the elaborate pieces Anne Harding wears, which are often innocent and bright—exuding femininity where Ellen’s may seem like the embodiment of a corpse bride, emphasizing her frail frame and prominent collarbones.
Ellen Hutter’s psychological turmoil stands at the forefront of the film—a bout of something like hysteria that is immediately dismissed by every other character. After her husband leaves for the Count, Ellen begins to have nightmares each night that take hold of her like a demonic possession. It’s then that the connection between Ellen and the Count is strengthened because of their likeness and the Count being a representation of her fears and melancholy. Although we come to know that what she feels is entirely real and that monsters don’t just exist in the imagination.
Nosferatu is a stunning reimagination of the original film, one that honors its source material while carving its own haunting identity through its stellar performances and flawless direction. In crafting this gothic nightmare, Eggers has not only created the year’s most mesmerizing horror film but has also redefined what a vampire story can be for modern audiences. It’s certainly a film everyone will be talking about this holiday season, its dark allure a stark contrast to the typical festive fare. With Eggers’ streak of successes continuing, it seems inevitable that even more ambitious projects await.
5/5 Stars