Love at first bite: a review of Robert Eggers' Nosferatu

The start of a new year means new films on the big screen and Robert Eggers’ Nosferatu is a gorgeously dark and gothic horror which will leave audiences (blood) thirsty for more.

It is somewhat a miracle that Robert Egger’s was able to make this remake of the classic German silent film, Nosferatu: A Symphony of Horror. The 1922 picture was created as an unauthorised version of Bram Stoker’s novel Dracula, with attempts to avoid copyright infringement coming via character name changes and the adjustment of other details. After its release, Stoker’s widow, Florence Balcombe, took legal action against the film and in July 1925, a German court ruled that all copies of Nosferatu should be destroyed for infringing copyright. Fortunately, some versions of the film survived and it has since led to director Robert Eggers’ being able to put his version to the big screen. As such, over 100 years later, the 2024 version of Nosferatu is a reminder of the impact that classic monsters have had on the horror genre - after all, the original has served as both a reference and inspiration for many films since its release. As a homage to the original, Eggers’ Nosferatu is a gorgeously macabre piece of cinema, both sensual and haunting in its depiction of vampirism.

One of Eggers strongest talents as a director is his meticulous world building, particularly as he leans into the gothic and body horror via the Victorian setting and costuming. Eggers is a master in constructing rich and tangible atmospheres, something which is aided by his ability to bring out the uncanny in his films. The result is an otherworldly film, one which forefronts the psychological depth of its protagonist Ellen, played by a standout Lily-Rose Depp, whilst also portraying the spread of decay and corruption. It is also refreshing that Eggers took the figure of the vampire and brought it back to its folkloric origin, a change to more modern depictions of vampirism which lean heavily on the idea of the creature as a romantic, relatable outsider (though it should be stated that I still love Twilight). Instead, the figure returns to its horrific origins as a corpse, with Orlok’s grotesqueness and ruthlessness highlighted throughout. However, Eggers is still able to place a seductive element into his version of Nosferatu. This is particularly bolstered by Jarin Blaschke’s cinematography and use of colour, with the hues of crimson reds disappearing into an almost colourless palette as Orlok’s continues to increasingly terrorise Ellen.

The unspeakable dread that is built up in Eggers’ direction is bolstered by performances of the cast. It is a delight to see Willem Dafoe return to collaborate with Eggers as the character of Professor Albin Eberhart von Franz, and Nicholas Hoult effectively conveys the innocent love Thomas Hutter has for his wife, Ellen, in contrast to the sinister connection Orlok has with her. More specifically though, it is Lily-Rose Depp’s performance as Ellen Hutter and Bill Skarsgård as the titular nosferatu, Count Orlok, which form the dark heart of the film. At the beginning of the film, Depp’s character emotionally calls out for a guardian angel to “come to me” but unknowingly awakens something far more sinister. As the sheer white curtains in her room flap in the wind, Orlok’s silhouette appears in a haunting visual and tells her that she “is not for the living”, nor is she “for human kind”. Depp is masterful in portraying Ellen’s sensitive spirituality, forefronting her feelings of isolation in longing gazes which seem to transcend the physical world. The actor also brings a tortured physicality to the character, particularly in scenes of supernatural possession and contortion. She is able to convey Ellen’s battle for control against Orlok clearly, showing the devastating effects that his obsession over her has, as well as the contempt those around her have for this spiritual ability. As Depp herself has said, the film is that much scarier because it presents a toxic yearning which occurs both ways between Ellen and Orlok. This dynamic is bolstered by the unrecognisable Skarsgård, who transforms completely into the role of the vampire. His wheezing but rumbley voice is both repulsive and seductive, his pull with other characters intoxicating right until he bites down onto the chest to drain them of blood. It is a powerful performance, one which shows that Orlok is an addictive presence though he brings no pleasure to those who he comes across.

Ultimately, Nosferatu is a masterfully crafted gothic horror about sex, death, and shame, one which will leave audiences inviting Count Orlok to their screens for many years to come.