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The director Robert Eggers dares you to feel seduced in his take on the classic vampire tale, starring Bill Skarsgard and Lily Rose Depp.
transcription
“Hello, my call is Robert Eggers, the editor and director of “Nosferatu. ” Nicholas Hoult heads to Orlok Castle and stops at a Transylvanian village we built in the Czech Republic, just outside of Prague. We went to many museums of vernacular architecture in Romania, in Transylvania, to examine what we were going to build, and it was based on all that. It was a very difficult series to cast. We have Romani actors and musicians and dancers. Roma. In the Czech Republic, Slovakia and Romania It was a challenge to paint with everyone speaking another language, but it was also very nice from Romania, so it was the clapping woman with the red shawl that you may or may not have seen than all. This was done in one go. This series was very painstakingly choreographed and rehearsed in advance in a warehouse in Prague. And then we had to get everyone here and do it right. And I think we did about 30. takes from all that. This guy, Radu, is a dancer who practices a kind of classical Roman dance combined with hip hop. But here he’s just doing the classic thing. And this man with the gold tooth is Jordan Haj, a Czech pop star. Why are they laughing at him? Is it the hat or is it something else? But it’s definitely meant to make you feel uncomfortable as an audience member, because he doesn’t know why they’re laughing at him.
By Wesley Morris
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Anytime we get a new Dracula movie, all people want to know is whether it’s scary. That’s always seemed like the wrong question. These films have never scared me, at least, not in a conventional horror-movie-suspense sort of way. A truer test for one of these things is a matter of carnal morality. How hideous can the filmmakers make their vampire — how cadaverous, satanic, ratty, rasping, raisiny, rinded — until he’s just too unsightly, too unwieldy not simply to behold but to be held?
Can an actor so transform the effects, prosthetics and rococo that we give up and give in to the gnarled, murderous pestilence towering over everybody? That’s one barely concealed conundrum in this new, Robert Eggers Dracula film, “Nosferatu”: What do you do when evil kisses better than your husband?
Nothing, I’m afraid. You just spin around this feeling, like the risky heroine of the Victorian-era movie, until you sink, screaming for a scratch from the dark lord’s claws. This terror resembles the good luck of the movie. Eggers, with his artisanal technicians and actor Bill Skarsgard, created the grossest, juiciest, most cooked, most rotten, most mustachioed and least alive Dracula I can remember.
And yet, what Dracula radiates (the most terrifying thing about him) is greater than any of those totalizing powers. Unfortunately, after more than two hours of biting, impalement, infanticide, and telepathy, I became so nauseous with sympathy for all the sexual manipulation, so susceptible to it, that I am ashamed to admit that I sought my turn. Do me, baby.
Here’s a clever take on Bram Stoker’s novel of 127 years: a vampire movie that proves primed for our renewed charm to the strongman. The names of the characters and places have been replaced to fit “Nosferatu: A Symphony of Terror”. ” the silent cooler that F. W. Murnau and Henrik Galeen made with the same curtains in 1922. But the story unfolds more or less intact. This is still the story of a terrifying real estate transaction in 1838. A newlywed green lawyer named Thomas Hutter (Nicholas Hoult) travels from his German hometown of Wisborg to Transylvania. Earl Orlok (Skarsgard) has his eye on an asset in the Dominion still requires final documents to be signed on a home visit.
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