Robert Eggers' Nosferatu review: A cinematic feast of horror
Glenn Cochrane
STACK Senior Editor
Given the dark, haunting aesthetics Robert Eggers has honed over the past decade with films like 'The Witch', 'The Lighthouse', and 'The Northman', it feels inevitable that his journey would lead to 'Nosferatu'.
Nosferatu is the iconic 1922 German film, an unauthorised adaptation of Bram Stoker’s Dracula, with names changed to avoid legal issues. A landmark in cinema, it has inspired numerous remakes and countless imitations. Many contemporary filmmakers consider it one of the most influential films of all time, especially in the horror genre.
Now comes Eggers’ interpretation, a passion project that lovingly recreates the ominous tone of the original, while expanding upon its themes and crafting a modern gothic classic.
Set in 1830s Germany, the film follows Count Orlok (Bill Skarsgård), a Transylvanian vampire who crosses the seas to stalk a young German woman, Ellen (Lily-Rose Depp). In search of property, Orlok enlists the help of her fiancé, real estate agent Thomas (Nicholas Hoult). He traps Thomas, draining his blood, but sparing his life due to Ellen's influence.
If you're familiar with the story of Dracula, you'll recognise the plot of Nosferatu. In many ways, Eggers' film echoes Francis Ford Coppola's 1992 adaptation of Bram Stoker's classic. Fans of Coppola's film will appreciate the stunning Victorian-era production design and Eggers' masterful use of shadow and light.
Admittedly, the film overstays its welcome. By expanding on the original’s themes, Eggers stretches the original 94-minute running time out to 132 minutes. Fortunately, most of the sluggish portions of the film are at the centre, making way for a spectacular and mesmerisingly grotesque final act, which is a sight to behold.
Whether you're a fan of Dracula, Nosferatu, Robert Eggers, or vampire lore in general, this new film delivers. It's a cinematic feast of style and artistic flair, offering a truly captivating moviegoing experience.
Rise to the terror
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