Why do we need another Nosferatu?
For me, the answer lies in Eggers' vision and approach to storytelling, aesthetics, and character development. In a way, Eggers isn’t simply remaking Nosferatu—he’s reinterpreting it through his own unique lens, as he’s done with previous films like The Witch and The Lighthouse. This is not just a nostalgia trip or an exercise in copying what has come before, but a director taking on a classic with a sense of reverence while still bringing something new to the table. In that sense, it’s not about whether we needed this remake; it’s about what Eggers has to say with it.
The plot remains largely unchanged: set in 1838, Thomas Hutter (Nicholas Hoult) is sent to Transylvania to meet the mysterious Count Orlok (Bill Skarsgård), a vampire who has developed an obsessive desire for Hutter’s wife, Ellen (Lily-Rose Depp). The familiar beats are there—Orlok brings death and disease to the town, and Ellen’s self-sacrifice ultimately saves the day. Yet, Eggers doesn’t treat the story as a straightforward retelling. Instead, he deepens certain elements, particularly in his portrayal of Ellen. Rather than a passive victim of fate, Eggers’ Ellen feels more like a woman grappling with her own desires and her impending doom. She is not merely the object of Orlok’s obsession; she is his counterpart in the story, entangled in a dark, self-destructive yearning that brings new complexity to the tale.
One of the most compelling aspects of Eggers’ Nosferatu is how it explores the themes of desire and death. Ellen’s relationship with Orlok is more than just one of fear and victimhood—it’s an intense, almost sexual attraction, a dynamic that Eggers explores with unsettling depth. There’s an undercurrent of repressed lust and longing in their interactions, and Eggers doesn’t shy away from portraying this as a destructive force. It’s a fascinating shift from traditional vampire lore, where the focus is often on the monster’s predatory nature. Here, the monster is just as much a manifestation of humanity’s own darker impulses, particularly desire—something that can consume both the object of obsession and the one who is obsessed. This added layer gives the story a kind of tragedy and inevitability that resonates with a modern sensibility.
Visually, Eggers brings his signature style to Nosferatu, blending historical accuracy with the surreal and unsettling. While he doesn’t attempt to recreate the specific look of the 1922 film, there’s a palpable sense of nostalgia in the film’s cinematography. The black-and-white visuals evoke the past without copying it. Instead of fully replicating the silent film aesthetic, Eggers offers a modern interpretation that uses lighting, color, and framing to suggest it. The interiors are often bathed in warm, brass-colored light, while the moonlit exteriors are cold and unwelcoming, with deep shadows that seem to stretch forever. There’s a sense of melancholy and decay throughout the film—everything feels preserved, like a forgotten relic from another time. Eggers captures this atmosphere beautifully, making the world feel both timeless and utterly alien.
Orlok, as portrayed by Bill Skarsgård, is another highlight of this remake. He’s not just the grotesque creature we’ve seen before; Eggers gives him a more nuanced, even magnetic quality. Orlok’s hunger is not just for blood, but for something deeper—desire itself. Skarsgård’s performance is mesmerizing in its restraint; he never overplays the character, and yet there’s a palpable sense of dread in every scene he inhabits. The feeding scenes are especially disturbing, as Eggers reimagines the vampire’s act of consumption as something more intimate, more sexual. This re-interpretation of Orlok as both predator and symbol of humanity’s darkest urges is one of the most effective changes Eggers makes to the original story.
While the cast delivers some impressive performances overall, Nosferatu does falter in one key area: Lily-Rose Depp’s portrayal of Ellen. There’s no question that Depp fits the role visually, her pale, gaunt appearance perfectly embodying the haunted figure of Ellen. She also gives a physically intense performance, contorting her body to reflect her mental and emotional disarray. But unfortunately, her performance sometimes feels over-the-top and forced, lacking the depth and authenticity that the rest of the cast brings to their roles. Instead of feeling like a woman caught between desire and duty, Ellen comes across as a bit of a caricature, an object of pity rather than a fully realized character in her own right.
Despite this, the film’s themes and visual storytelling make up for any shortcomings in the acting. Eggers doesn’t just tell a story of a vampire; he tells a story of obsession, desire, and death—of the tension between life and the irreversible pull of the abyss. It’s a film about passion in its most destructive form, about the things we’re willing to sacrifice in pursuit of something deeper and darker. Eggers’ Nosferatu is a reminder that horror doesn’t always need to be about cheap thrills or shocks; sometimes, it’s about exploring the darkest parts of ourselves, the things we fear and desire in equal measure.
Robert Eggers’ Nosferatu is a fresh take on a classic that succeeds in its reimagining of the story. Eggers’ direction brings a modern sensibility to the material, blending historical authenticity with a unique visual style that captures the essence of the original while adding new layers of meaning. The performances, particularly from Skarsgård and Hoult, elevate the material, and the exploration of desire, death, and obsession is what makes this remake stand out. Though Depp’s portrayal of Ellen may not fully deliver, the film succeeds in other ways, making it a compelling and visually stunning reinterpretation of a timeless horror story. It’s a reminder that even a familiar tale can still feel new and fresh when viewed through a different lens.
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