The Wasteland Reviewer

Nosferatu (2024) Written Review

What is one of the most terrifying figures in all of fiction and mythology? The vampire. Nosferatu. Before they became glittery in Twilight and dumb in What We Do in the Shadows, this specter was one of the most horrific figures in all of literature. Bram Stoker helped create this pop culture phenomenon with his iconic novel Dracula. This tale presented a being that is the embodiment of lust and eroticism but more significantly…creeping death. There have been an infinite number of adaptations of Dracula but not all of them were authorized…and one became iconic despite that. Nosferatu is one of the most influential vampiric tales ever put to film. This is quite similar to the original Dracula tale, but it changed some names (they thought no one would notice!). But the vampire changed as well. This was not a seductive and changing Count (looking at you Claes Bang) but instead a grotesque rodent of a being with rat imagery. This influential take on Dracula was explored again by Werner Herzog but apparently it was also a long-time passion of horror’s resident historian, Robert Eggers, as well.

What does Eggers bring to his version of this vampiric tale? The original film was draped in a gothic atmosphere and painted with German Expressionism. You can see those influences all over Eggers’ efforts, but he brings a much heavier and darker feel that modern filmmaking can afford. There is an intriguing balance between gothic dread and haunting love and lust. There are plenty of moments that will strike fear and terror in the audience. The first scene where Count Orlok is introduced is something of horror perfection. The way the camera moves while only revealing exactly what Eggers wants you to see is impressive. The slow build of tension is something that Eggers shows off throughout this film. This is not a fast-paced horror flick. Instead, you are treated to a creeping terror drenched in a haunting atmosphere. There are even a few jump scares that expertly are crafted and deliver some impressive scares along the way. Eggers is a masterful artist who understands what strikes fear in people and exactly how to do it. But there is another equally important element for this tale of terror to work. The horror needs to be met by a feeling of love. This is a pure love that is meant to balance with the terror and lust that our vampiric antagonist executes. There is something simple yet affecting about the connection between our protagonists which is new for Eggers (as his films don’t tend to live in a space full of romance and affection). Eggers can capture this classic, gothic romance that is more poetic and lyrical than most modern romances. But when Eggers needs to let loose, there is an uncomfortable and unnerving lust that lashes out at the right moments (the climax is a perfect balance of terror, love, and lust). 

How do the atmosphere and technical aspects connect with the themes and emotions of this story? The core of a vampiric tale are the themes for which this undead creature embodies. Eggers works in both broader and intimate thematic threads with his adaptation of Nosferatu. The period in which the film takes place as well as the setting in Germany make it work well to embody the plague. The vampire represents a creeping death that will consume all around you. Eggers captures the plague with scale and detail making for some horrific imagery that layers in well with the overall story. But the lust and darkness that Nosferatu represents is penetrating and haunting. They describe the beast as a “shadow” and that makes for some interesting elements that are incorporated into the film. The physical manifestations of the count’s shadow are some of the most memorable and unnerving sequences in the film (the shadow claw over the city is just chef’s kiss). But thematically you feel this darkness that disturbs our characters deeply in a way that feels both like an infection as well as mental illness. The way Eggers navigates a personal and intimate motif like mental illness is dark and haunting for sure. But one of the most important elements of any vampire tale is how sexuality and lust are embodied. Orlok is a dark specter that haunts Lily Rose Depp’s Ellen and embodies the darkness and lust rotting her from the inside. There is one uncomfortable and haunting scene of intimacy between the Hutters which captures this theme in the most impactful way. This is a terrifying, darkly romantic, and lustful experience that will burrow underneath your skin and will linger long after the film ends. 

How do the other technical elements of the film match with Eggers’ direction to bring this gothic horror romance to life? The visuals are something to behold for sure. The production design is incredible. The castle of Orlok and his new German residence are towering, disturbing, and haunting to say the least. You feel all the details of each space and how they capture the characters they relate to. The costume is perfect as well with the period being brought to life in every suit, dress, and hat. But the attire of Orlok is the most interesting as it captures the Eastern European aesthetics of Transylvania of the time. Renowned cinematographer Jarin Blaschke has done amazing work with Eggers before, but this just might be the biggest undertaking of their collaboration…and it is a true standout. The scale is impressive in Nosferatu as it needs to feel sprawling across Europe and the evil of Orlok needs to be felt as a universal threat. The camera work is sharp and precise in a way that is inspiring. The lighting is incredible with certain scenes working so well thanks to the use of natural lighting by fire. Shadows are thematically and visually significant for Nosferatu and Blaschke can make Eggers’ vision come to life. One of the most iconic visuals in the original is Orlok’s shadow creeping through the Hutter’s home and that scene is so satisfyingly creepy here as well. The unsung hero of the film is the disturbing and haunting score from Robin Carolan. There is a strong balance between classical scores with its orchestral feel and the otherworldly noises that Carolan can craft. This score is terrifying at times and hauntingly beautiful at others. Finally, the make-up and hairstyling are essential for the period setting (all the mutton chops are glorious) as well as creating Orlok himself. The combination of facial hair, skin design, and his beastly hands makes for such a fascinating, terrifying, and memorable villain. 

Do the characters and performers meet the (unfairly) high standards of Eggers’ filmmaking? First off…Orlok. Bill Skarsgard is a revelation. There is something so special about a performance that is fully enveloped by the character being portrayed. There is no Skarsgard in this film. There is only Orlok. The physicality is so intentional with his towering figure and his creepy movements crafting such a fully realized monster. But it is the voice. The accent, breathing, and textures that Skarsgard creates through some form of unholy alchemy. The most disturbing element of this whole film just might be the voice Skarsgard created. This is a new standard for villainous performances on film. Depp is a perfect match as the protagonist of this film as well who must embody so many emotions. She sells the lyrical and poetic dialogue that she is provided by Eggers (which is a tough task). We feel the pure love and attraction she has for her husband (Nichoals Hoult) while also the unnerving lust for the vampiric count she has as well. In the moments where she is possessed by Orlok, Depp does something impressive with her physicality, facial expressions, and her voice. Hoult does a fine job as a man who deeply loves his wife but makes rash decisions to provide her something that she never needed or wanted. The drive in Hoult’s performance is felt. But the fear and terror he expresses in his first scene with Orlok is something deeply disturbing. Aaron Taylor-Johnson is fun in his rich man naivete and delivers layers when evil strikes his family. Emma Corrin (his wife) gets to shine in a few moments as well). Ralph Ieson has a presence as the doctor who represents the modern world, being challenged and logical in a tale full of evil and the supernatural. Simon McBurney is terrifying in his mania as the sycophantic drone of Orlok. His physicality is unnerving and the bloody moments with animals that McBurney sells are bone-chilling. Then you have Willem Dafoe as the “Van Helsing” type character. He has a great presence that delivers intensity, emotion, and some darkly funny moments that the film seriously needed. 

Is Nosferatu an entry in this vampire mythology that lives up to the legacy? This is a towering achievement of technical prowess that makes the most pitch perfect gothic horror experience in modern cinema. Eggers is a true student of the game, and he directs the Hell out of this film. The blood, shadows, lust, and love that mix makes for such a haunting and unnerving cinematic experience. Few directors can bring so much authenticity to such a film as Nosferatu. The story is timeless and the themes universal. This is the benchmark for horror in 2024 and will leave you anxiously awaiting what Eggers does next.