In general circumstances, it would be difficult to justify a new version of Nosferatu. Not only do there are already so many cinematic variants of Dracula (both ancient and modern), but F. W. Murnau’s original 1922 film still stands out as a singular interpretation. of history that occupies a place in the history of cinema as a film. An emblematic example of German expressionism. (Not to mention that Werner Herzog had already directed a remake with Nosferatu The Vampyre in 1979. )
Release Date: December 25, 2024Directed By: Robert EggersWritten By: Robert EggersStarring: Nicholas Hoult, Lily-Rose Depp, Bill Skarsgård, Aaron Taylor-Johnson, Emma Corrin, and Willem DafoeRating: R for bloody violent content, graphic nudity and some sexual contentRuntime: 132 minutesNosferatu: Release Date, Cast And Other Things We Know About The Remake
What makes 2024’s Nosferatu a special case is Robert Eggers. In less than a decade and with only 3 feature films in his filmography, Eggers has temporarily established himself as one of the most exciting auteurs on this current scene, demonstrating an impressive and unprecedented determination to bring out the details in his storytelling and a knack for creating striking films and stunning images. His special dispositions and skills make the filmmaker’s design and curtains a natural and exciting combination, and Eggers’ painting finally proves it, as his most recent painting is full of interest and is as exquisite as it is bloody and terrifying.
Exemplifying the writer-director’s respect for the original, Nosferatu is a faithful reimagining. Thomas Hutter (Nicholas Hoult) is a real estate agent who is sent through his employer Herr Knock (Simon McBurney) to strike a deal with the mysterious Count Orlok (Bill Skarsgård), not recognizing Knock’s satanic intentions to trigger death in the small town of Wisborg, Germany.
While Thomas is away, he entrusts the care of his young wife Ellen (Lily-Rose Depp) to his friends Friedrich (Aaron Taylor-Johnson) and Anna Harding (Emma Corrin). It’s a clever arrangement until Orlok begins to supernaturally communicate with Ellen, and things go from bad to worse when the decrepit Count arrives in their town. The Hardings first call in Dr. Wilhelm Sievers (Ralph Ineson) to treat Ellen’s exacerbated condition, but when it is theorized that something more sinister is going on, they call in the eccentric Professor Albin Eberhart Von Franz (Willem Dafoe).
With the exception of the fact that German characters are speaking with English accents, Nosferatu makes an overt effort to ensconce audiences in the special time and place that is 19th century Europe, and balances it with a deep respect of filmmaking craft when the medium was still in its infancy. As has been the case with Robert Eggers’ entire filmography of features, it’s hypnotizing and grand. There is not only an understanding of how critical shadows were to the German Expressionism aesthetic, but the filmmaker expands on the iconic imagery of the 1922 movie and achieves his vision with bold and stunning use of natural lighting. Eggers’ collaboration with cinematographer Jarin Blashke and production designer Craig Lathrop has you squinting into flame-licked darkness for a satisfying look at the terror that hides there, and it ever heightens the mystery and raises the pulse – as each time you get a better look, the chills increase.
The story is familiar to anyone familiar with the original and/or Bram Stoker’s Dracula, but (with irony recognized) Robert Eggers breathes new life into them. Count Orlok’s sea voyage is an appropriately bloody horror show of escalating death, and Herr Knock’s descent into madness is particularly gnarly – with candle-lit naked prayers and biting the heads off small animals in the mix as he awaits his master’s arrival. Sharper than anything, though, is the eroticism in the psychic bond between Orlok and Ellen, and threads the needle of sex and death and manages to be both sensual and grotesque.
Lily Rose-Depp doesn’t provide the kind of gravitas and strength on screen that could have made Nosferatu even more special (in this review, I’m reflecting on Anya Taylor-Joy’s disturbingly stellar turn in The Witch), however , she is indeed a feature full of extreme and raw emotions, and is surrounded by an exceptional set of co-stars. Nicholas Hoult is fantastic as the naïve but brave Thomas, his growing terror mirroring the titular self’s own, and Willem Dafoe is an ordinary level thief as the eccentric Professor Albin Eberhart Von Franz, an alien scientist whose habit matches his own. belief in alchemy and monsters.
However, with time and reflection, Nosferatu’s greatest achievement is Bill Skarsgård’s turn as Count Orlok. If the actor’s calling were not in the cast, it would be difficult to identify him in the role, since it is a complete and masterful transformation. His co-stars may not use the region’s exact accent, but he enters with a deep, rolling Romanian accent, the words spoken through rotten lips beneath a thick, long, black mustache. oozes through his presence, but he is also an animated corpse.
Robert Eggers, designer David White and their makeup team had the difficult task of recreating one of cinema’s most iconic creations. Rather, it is a reinvention that is the ultimate nightmare that smells like death across the screen. His face is completely hidden in the shadows for much of Nosferatu, but the teases are horribly charming and ultimately paid off with jaw-dropping displays of his full form.
The film has been a gripping assignment for Robert Eggers, and it’s a huge achievement that only further solidifies the writer-director’s position as one of the most exciting talents in modern cinema. It helps keep a cool grip on your surroundings from its sinister, dreamy opening series and we’ll never leave, and while it’s a title that works as a counter-programming to the overall holiday atmosphere, Nosferatu is certainly one of the most productive videos to be released in late 2024.
Eric Eisenberg is an associate editor at CinemaBlend. After graduating with a journalism degree from Boston University, he accepted a part-time job as an editor at CinemaBlend and, after six months, was presented with the opportunity to move to Los Angeles and hire a newly minted editor-in-chief. position on the west coast. More than a decade later, he continues to advance his interests and skills. In addition to conducting interviews with filmmakers and contributing to the site’s news content and features, Eric also oversees the movie review section, writes the weekend box office report (published on Sundays), and is the site’s resident expert, Stephen King. It has two columns connected to the king.
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