Nosferatu

Robert Eggers’ Nosferatu is a cinematic plunge into Gothic horror, well crafted to resurrect the haunting essence of Murnau’s 1922 classic while boldly reimagining its story.

Set in 1838 Baltic Germany, the film’s visual language and performances elevate it into a hauntingly atmospheric experience, but its ambition doesn’t quite culminate in a masterpiece.

Jarin Blaschke’s cinematography is undeniably stunning, immersing the audience in a world inspired by 18th-century romantic paintings.

The use of colour is particularly evocative. Warm tones serve as both comfort and danger, exuding a macabre sensuality, while blue shades convey the film’s creeping menace and despair. Cold colours, on the other hand, subtly evoke the fleeting romance and yearning for normalcy in a world torn apart by Nosferatu’s vampiric shadow.

These choices craft a visual symphony that feels both painterly and nightmarish, grounding the film in its period-specific aesthetic.

Bill Skarsgård delivers what may be his finest performance to date as Count Orlok. Beneath layers of prosthetics, he transforms into a creature of profound tragedy and menace. His voice - a deep, resonant rumble that feels omnipresent - perfectly complements the character’s eerie self-absorption and existential evil-mindedness. It’s a performance that transcends the makeup, creating an unforgettable portrayal of an iconic monster. 

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That said, I found his appearance a bit off-putting, with its reminiscent of a deformed creature from “Tusk” (2014), albeit one sporting a moustache.

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Lily-Rose Depp, meanwhile, brings a fragile vulnerability to Ellen, the doomed “victim.” Her delicate presence beautifully conveys the character’s fragility, drawing the audience into her peril. However, her inconsistent British accent detracts from the otherwise immersive experience.

The effort is clear but the clash between her natural American tone and her attempt at British pronunciation proves distracting, occasionally breaking the spell of her otherwise solid performance.

Eggers emphasizes the distinction between Dracula and Nosferatu with the latter portrayed as a far more grotesque and tragic figure.

Where Dracula often embodies aristocratic allure and control, Nosferatu is a creature of decay and desperation - a living plague rather than a seducer.

Skarsgård’s Orlok captures this perfectly, eschewing the charisma associated with other cinematic vampires in favour of an unsettling, otherworldly dread.

The gore scenes are too brief to fully embrace the chaotic, possession-induced delirium that the film seems to hint at, especially in the second half.

This is amplified by Willem Dafoe’s portrayal of Professor Albin Eberhart Von Franz - a polarizing expert in alchemy, mysticism, and the occult, inspired by Bram Stoker’s Abraham Van Helsing - Dafoe’s character adds a surreal layer to the madness. 

However, the film struggles to maintain a consistent horror tone, often sacrificing its eerie atmosphere for less serious disjointed narrative detours.

The screenplay, revels in the peculiar cadences of 18th-century language, with ornate curses and florid turns of phrase lending depth to the dialogue. This commitment to period accuracy enriches the characters, making their struggles feel authentic.

The plot itself, dives into lesser-explored elements of vampire mythology, sidestepping well-worn cinematic tropes in favour of fresh interpretations rooted in historical texts and folklore.

Nosferatu is an undeniable achievement in visual storytelling, with Robert Eggers once again proving his mastery of atmosphere and tone. While it borrows shades of nuance from his earlier works leaves the film feeling somewhat redundant.

Its slow pacing and deliberate style may alienate some viewers as it teeters on the edge of tedium. While it’s an okay movie, it falls short of greatness, offering an experience that is visually stunning but emotionally inconsistent.

For fans of Eggers’ work and lovers of Gothic horror, Nosferatu may seem a great piece of cinema. For others, it may feel like a beautifully wrapped gift, that doesn’t entirely satisfy once opened.