Nosferatu

Rating 6/10

Director Robert Eggers has built a solid reputation, even when his narratives lean toward the esoteric. From The Witch to The Lighthouse to The Northman, his work consistently showcases a commitment to mood and atmosphere. So, when I learned he was tackling a remake of the silent horror classic Nosferatu, it seemed like an ideal pairing.

Eggers’ Nosferatu revisits F. W. Murnau’s seminal German Expressionist masterpiece, itself an unauthorized adaptation of Bram Stoker’s Dracula. The 1922 original—defined by its haunting imagery and shadows—is a landmark in filmmaking. Eggers has frequently cited it as a key influence and was poised to imbue the story with his signature panache and reverence for history.

In 1838 Germany, Ellen (Lily-Rose Depp) and her husband, Thomas Hutter (Nicholas Hoult), live a peaceful life in Wisborg until Thomas is sent to finalize the sale of a remote castle belonging to the enigmatic Count Orlok (Bill Skarsgård). Ellen, plagued by prophetic dreams and mysterious seizures, fears for her husband’s safety. At the castle, Thomas uncovers Orlok’s sinister nature and narrowly escapes. Orlok now sets his sights on Ellen, revealing a dark and preordained connection.

This is not the first time Nosferatu has been reimagined. Werner Herzog tackled the picture in 1979, and Shadow of the Vampire (2000) playfully fictionalized the making of the original. Eggers’ version stands apart as a beautifully crafted homage. I was taken in by the polished technique. In fact, the production remains quite faithful to its inspiration, even echoing certain scenes. The innovation for modern audiences lies in its heightened gore and visceral displays. Sadly, this focus on bloodshed comes at the expense of what is basically an elegantly mounted period piece.

Furthermore, the saga fails to resonate on a deeper level despite its visual flair. The screenplay dutifully adheres to the timeless plot, but the individuals are reduced to archetypes instead of fully realized people. This lack of depth in characterizations undermines the story’s more poignant moments. Lily-Rose Depp emerges as the standout, delivering a layered performance that captures Ellen’s innocence and her eventual acceptance of the sacrificial role she must play. Yet even her nuanced portrayal cannot compensate for the narrative shortcomings.

Nosferatu delves into predation, obsession, and sacrifice. Unfortunately, in Eggers’ retelling, these concepts are superficially sprinkled as intellectual flourishes rather than deeply stirring explorations. The divide between the brilliance of the elevated aesthetic and its hollow emotional resonance is vast. I admired the craft but felt detached from the personalities. The movie is undeniably stunning and well-acted. There’s enough gothic style for me to gorge on, but the account left me curiously unfulfilled and feeling a bit anemic.

12-31-24