“We are here encountering the undead plague carrier. The vampyr. Nosferatu.”

Nosferatu is a forcefully grim experience that is certified as my favourite film from Robert Eggers and one of my favourites of 2024.

I watched the original Nosferatu last night and it’s clear to me that this film is a vast improvement. It pays tribute with references to Murnau’s direction but thankfully serves purpose too, amplifying the terror and emotion through the use of shadows as Murnau famously did. A richly gothic world is created and that moodiness is matched in the atmosphere created. The washed-out colour palette makes every frame reek of death, as does the bleak lighting. Immaculately framed, the coldness and loneliness of the land is excellently captured. I knew from the trailers that the cinematography would be beautiful but it brings great meaning to some unexpectedly emotional moments. 

As for the horror, it’s great. Trepidation is built so many times yet never feels cheap or overdone. There are occasional jumpscares, but that’s to be expected. The film doesn’t indulge in them so they do have a good effect when appearing. Echoes The Exorcist at times. The vampiric violence is disturbing to sit through. Every slurp and gulp is heard as the victim is drained of blood. The film can be unsubtle, which does work half the time, and there are some moments that are perfectly bloody. The sex, however, was far more prevalent than I had expected. There’s clear psychosexual connotations in the original but Eggers puts these at the forefront. It does work, especially with the formalism of this very English Germany presented, but it was far heavier than I anticipated.

The tale is an expansion on the original’s plot. It felt like it was dawdling at times but that could be because I knew where the plot went and lost track at the new additions. Still, this film has a stronger meaning to it. Fleshed-out and adding a new depth to it. Eggers’ writing has always had its flaws, it does here too as some melodramatic lines filter through, but, it’s definitely his best effort yet. The Englishness of the script is definitely jarring when ‘Germany’ appears large on the screen, especially so when Aaron Taylor-Johnson exclaims:

“That’s just capital!”

Speaking of the performances, they are definitely strong throughout. However, some can vary. Lily Rose-Depp gives a bold performance in climactic scenes, yet, can also give delivery that sounds really unnatural. She does a good job for the most part, matching the passion portrayed by Nicholas Hoult. He proves himself to be a trustworthy actor once more, delivering the fear compellingly. Sometimes bordering on melodrama but I’d blame that on direction. Bill Skarsgård is unrecognisable as Count Orlok, a truly menacing presence and plays into the mystery too. I felt the moustache took away from the scariness and the constant Darth Vader breathing felt overdone. Aaron Taylor-Johnson, Ralph Ineson and Willem Dafoe all elevate the scenes that they’re in. 

A great film for my first trip to the cinema this year. Deliciously spooky.

2024 RANKED