Film Review: Robert Eggers Puts His Distinct Stamp on ‘Nosferatu’ By Mixing Darkness with Seduction

Succumb to the darkness. That’s been the Focus Features marketing slogan for Nosferatu. It’s an apt one, too, as this Robert Eggers passion project does not shy away from the darkness of the Dracula type story, nor does it avoid the seduction. There’s plenty of gross moments in the film, but it also has an element of longing that really plays. Eggers brings his unique precision and craftsmanship to the vampire tale, making it the sort of feel-bad holiday offering that cinephiles should go nuts over.

Nosferatu is Eggers with no filter. It proves that he’s a good match for the material, befitting his longstanding interest in making this movie, but it also means that this is not quite a mainstream horror flick. Gross and weird, while also being classically haunting is perfect for the arthouse, especially given Eggers’ instincts. The multiplex? Well, that can be a harder sell. At the same time, anyone who gets bored with this one either is unfamiliar with his previous outings, has no patience for a story breathing, or just doesn’t get what he’s putting down. Being on the Eggers wavelength is key here.

This remake of the film of the same name, while also being an adaptation itself of Bram Stoker’s Dracula, is the story of Ellen Hutter (Lily-Rose Depp) and the vampire obsessed with her. Put under the spell of Count Orlok (Bill Skarsgård) years ago and promised to him, she’s now married to Thomas Hutter (Nicholas Hoult), who is unaware of her past. Sent by his boss to go close a real estate deal with a demanding Count in Transylvania, Thomas encounters Orlok, who initially doesn’t know who he’s married to. When he finds out, the need to be reunited with her, as well as feed, is intense. Stuck in Orlok’s castle, Thomas eventually escapes and returns home, though it soon becomes clear that Orlok has followed.

While death and disease have come alongside Orlok, Ellen has been having visions and losing control of herself. While Thomas tries to help her, others like Anna Harding (Emma Corrin) and Friedrich Harding (Aaron Taylor-Johnson) think she’s just losing her mind. Their lack of belief in her will have consequences. On the other hand, men like Professor Albin Eberhart von Franz (Willem Dafoe) and Dr. Wilhelm Sievers (Ralph Ineson) begin to understand the stakes and team up with Thomas to attempt to vanquish Orlok. Can they do it in time, or is Ellen lost forever? More than that, will she succumb to the darkness at hand?

Watching the cast buy into this vision is really something. Lily-Rose Depp is asked to do some very intense physical acting, while Bill Skarsgård continues to prove he’s one of the best at acting behind large amounts of makeup. He’s unrecognizable as the vampire, which is quite a feat. They both sink into these roles with abandon, which not only is what’s required, but how the story becomes as affecting as it does. The fact that the final scenes are actually moving? That’s all Depp and Skarsgård making you care. Nicholas Hoult showcases terror and love in equal measure, giving depth to a potentially thin role. Willem Dafoe is having fun, getting to go bigger than most. Emma Corrin is solid if unremarkable, while Aaron Taylor-Johnson hams it up a bit. Supporting players here, in addition to Ralph Ineson, include Simon McBurney, among others, but Nosferatu is the Depp and Skarsgård show for sure.

Filmmaker Robert Eggers puts it all on the screen here, and while it’s narratively perhaps his most straightforward work, no one will mistake this for a garden variety horror film. The stark cinematography from Jarin Blaschke, the ominous score from Robin Carolan, it all combines with terrific period production design to make it darkly hypnotic. The pacing is slow, so Eggers’ script isn’t always giving you quite as much to ponder as his direction, but there’s never a moment where you don’t think you’re in the hands of a storyteller executing his vision. Regardless of whether Nosferatu succeeds for you or not, it’s impossible to deny the craftsmanship on display. Between that and the acting, it’s easy to appreciate what’s on display.

Nosferatu works because Robert Eggers has a precision that comes through no matter what he’s doing. Whether you prefer this to The Witch, The Lighthouse, and The Northman (for me, The Witch is still tops, with this probably next in line), it’s clear that we have a unique aueteur operating at a high level. Whether you can do a horror movie or not, this vision is well worth your time.

SCORE: ★★★