Robert Eggers' nosferatu: A darkly romantic nightmare

Robert Eggers’ latest movie, a retelling of a story already overly iterated upon, inspired by Dracula by Bram Stoker and the Namesake movie of 1922, proves to be a disturbing nightmare that draws you in from the beginning, one of his best movies yet. One of the best horror movies that came out in the last year. Edgar brings his own spin to this incredible story and delivers a fresh and terrifically haunting movie. 

This project has been in development since 2015, with various high-profile actors attached at different stages, only to leave due to conflicting schedules. Anya Taylor-Joy was originally set to portray Ellen Hutter but had to pass on the role due to scheduling conflicts with Furiosa. While her departure was disappointing, it ultimately worked in favour of the film because Lily-Rose Depp delivers an absolutely stellar performance.

Despite the movie being nominated for some awards, she was totally snubbed by major acting categories. She pulls off an incredible and believable British accent, and her body movements, her facial expression—all of these characteristics elevate her performance to an absolute mastery of art form. 

The rest of the cast is just as perfectly chosen. Nicholas Hoult plays Thomas Hutter, Ellen’s husband, and does an incredible job portraying sheer terror throughout the film. Aaron Taylor-Johnson, as Friedrich Harding, has one of the most heartbreaking storylines, which I don’t want to dive into too much as I am trying to keep the review as spoiler-free as possible. He plays Thomas and Ellen’s close friend, and his wife, portrayed by Emma Corrin, who shines despite her limited screen time. Then there’s Willem Dafoe—always a scene-stealer—who delivers an outstanding performance as Professor Albin Ebernhart, a mystic scholar who’s called upon to help understand the epileptic fits that afflict Ellen and who ultimately is the only one who truly understands the deep, supernatural connection between Ellen and Count Orlok.

Bill Skarsgård portrays Count Orlok, arguably the most challenging character to embody. Not only because the demands of the role are high, but also because this is the character that stands out the most from previous movies and interpretations. Even beneath layers of decay and an unexpected moustache, his charisma remains undeniable. Skarsgård is known for his transformative performances and he completely disappears into this role. His voice work in Nosferatu is especially noteworthy, the breath control, the deep baritone he sinks into, it’s all incredibly skilled work. As Count Orlok, he is strangely mesmerising to witness. 

I might lose some of you here, but I consider this movie to be a romance as well as horror. The dynamic between Ellen and Orlok follows a trope that has returned to popularity thanks to romantasy fiction: the female protagonist is stalked and haunted by the villain. Ellen might not completely fall for it, but the erotic dynamic is undeniable. Although I am sure Eggers found inspiration for it as well, as I can’t really picture him as a romance fantasy reader. The tension in the confrontation scene, where Orlok gives Ellen an ultimatum—three days to come to him or he will unleash a plague upon the world— talk about yearning of this undead man. The chemistry is palpable, and it’s impossible not to see the dark allure of their connection.

Eggers' direction brings a meticulous sense of period authenticity, not just in costume and set design but in the very language of the film. He explores the unique cadences and linguistic peculiarities of the era, filling the screenplay with elaborate insults and poetic turns of phrase that contribute as much to character development as the wardrobe choices. This commitment to historical detail extends to Orlok's movements. The way the camera tracks him makes him seem to teleport, flickering through shadows and appearing where he shouldn’t be, adding to the film’s eerie sense of unease. Eggers also introduces an ever-present force of malevolent energy, as if Orlok is but one manifestation of a greater, unseen evil manipulating events from the periphery. The way shadows are also manipulated by the cinematography adds to the eery atmosphere and the 

The film’s score is an eerie cry of anguish, perfectly accompanying some of the film’s most terrifying sequences—such as the horrifying invasion of rats flooding the streets of the German city of Willberg.

Eggers expertly blends folklore with his own artistic vision, crafting narratives that feel both timeless and contemporary, much like he did in The Northman and The Lighthouse. His attention to detail and atmospheric storytelling transports viewers to a bygone era, allowing them to immerse themselves in a world where the lines between myth and reality blur. 

From the opening scene, the film sets the tone for something extraordinary. A young Ellen, weighed down by melancholy, calls out for companionship, and the entity that responds is of a sinister nature. She binds herself to him, but upon marrying Thomas, she attempts to escape his grasp, only to find herself still haunted. While Ellen suffers these nightmares Thomas is lured to Transivanya where Count Orlok awaits him, who, determined to move closer to Ellen, has requested the deed of a run-down mansion in the same city where Ellen and Thomas live. However, Orlok needs her to want him back, to accept him willingly. The sequence in the castle, when Thomas stumbles upon Orlok’s coffin and watches in horror as the Count rises, is pure cinematic mastery. The paranoia, the desperate attempts to escape, Eggers' use of the camera in these moments pulls the audience directly into the characters’ terror. The cinematography in this film is simply breathtaking.

The suspense builds meticulously. The full reveal of Orlok is deliberately paced, we don’t get a clear view of him for a significant portion of the film, heightening the anticipation and unease. Most of the movie is visually drained of colour, existing in desaturated shades of grey, adding to its dreamlike quality, which is a style that Eggers is accustomed to.

If it wasn’t clear I absolutely loved this movie. Nosferatu is a visually stunning and deeply unsettling film, one that stays true to Eggers’ signature storytelling style while offering a fresh take on a classic legend. It’s an absolute must-watch for horror fans. 

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