Writer-director Robert Eggers has never been one to shy away from provocatively visceral moments in his films. His feature debut, The Witch, dips into the dark abyss of Puritan folklore and witchcraft. My favorite of Eggers’ repertoire, The Lighthouse, shows Robert Pattinson and Willem Dafoe increasingly spiraling into isolation insanity. His fourth and most recent feature, Nosferatu, further solidifies his trademark gothic style and wholly unholy flare.

Not a Remake but a Reimagining

Eggers’ vision is not just a remake but a reimagining of the classic 1922 silent German film Nosferatu: A Symphony of Horror. Directed by F. W. Murnau, the original film set a precedent as being one of the most influential within the horror genre. Its stark vampire lore has continued to excite filmmakers over the last century, and Eggers is not the first to try his hand at showcasing this material through a new lens. In 1979, Werner Herzog released Nosferatu the Vampyre. In the early 90s, Francis Ford Coppola released his adaptation, which was more so inspired by the original Dracula source material, called Bram Stoker’s Dracula. Like its predecessors before it, Eggers’ Nosferatu offers a familiar story with the benefit of upgraded technological advancements.

Obsession Turns Deadly

Lily-Rose Depp plays Ellen Hutter, a young woman haunted by a mysterious and supernatural vampire. The vampire’s obsession with Ellen began in childhood and its grip on both her free will and well-being continues to tighten the older she gets. When we meet Ellen, she is happily married to the love of her life, a real estate agent named Thomas (Nicholas Hoult). A work opportunity forces the couple to spend a few weeks apart as Thomas travels to visit a prospective property owner hundreds of miles away. As soon as Thomas arrives at Count Orlok’s (Bill Skarsgård) eerily foreboding castle nestled within the barren mountains, he knows something is wrong. Upon meeting the evasive and frightening Count, Thomas looks for a way out but soon realizes that he has what Count Orlok really wants: Ellen. And this time, Count Orlok–or, Nosferatu, as legend has it–isn’t letting anything or anyone get in his way.

Evil lurks around every corner as Count Orlok makes his way toward Ellen. Thomas, with his friends Friedrich (Aaron Taylor-Johnson) and Anna (Emma Corrin) Harding, attempts to interfere but they are only met with increasing distress and devastation. This is where Professor Albin Eberhart von Franz (Willem Dafoe), a leading expert on the occult, comes into the picture. Joining forces, they work to save Ellen from the clutches of this demon. The only problem is, it doesn’t seem like Ellen wants to be saved after all.

A Gorgeously Gothic

Lily-Rose Depp throws her body into the role of Ellen, which demands a high degree of physical maneuvering and expression. Any time Nosferatu visits Ellen, she flails her body in seizure-like contortions. It’s a painful yet pleasurable experience for Ellen, who cannot seem to break Nosferatu’s spell despite her love for Thomas. This love triangle is the centerpiece of the film’s climax. While the ending may be obvious to those who already know this story, Eggers’ interpretation is full of emotional depth. Its inconclusiveness may not satisfy everyone but Eggers remains confident in his choices.

Every craft department fires on all cylinders, from the casting to the set design (which included 5,000 live rats!). However, the most stunning element is Jarin Blaschke’s brilliant cinematography. The shadow play is incredible, the richness of color is deliciously satiable, and every frame looks like a Victorian painting.

Takeaway

As expected, Nosferatu isn’t going to be light-viewing. It’s macabre in nature and Robert Eggers amplifies this darkness through skilled camerawork and design. More horrifying than thrilling, Nosferatu will no doubt send a cool shiver down your spine.