In 1922, German film director F.W. Murnau released an unauthorised adaptation of Bram Stoker’s Dracula, a tale that would forever change the landscape of horror cinema. Nosferatu: A Symphony of Horror introduced the world to Count Orlok, a creature of the night whose gnarly, distinct silhouette would haunt generations. A century later, Robert Eggers’ reimagining of Nosferatu proves that some shadows never fade but deepen with time.
Having watched this film twice, first in 35mm then digital, I felt the 35mm screening significantly enhanced the gothic atmosphere and period authenticity. There is something almost mystical about how the texture of film captures the shadowy world Eggers created.
A Vision of Darkness
Shadow and Light
The film’s command of gothic aesthetic is truly spellbinding. Its near-monochromatic palette fulfils two purposes: it pays homage to the original silent film while metaphorically representing the moral grey areas the characters inhabit. The cinematography’s emphasis on natural light and candlelight creates an atmosphere of perpetual twilight, where reality and nightmare become indistinguishable.
The boundaries between day and night, good and evil, submission and power, are beautifully showcased as fluid
Robert Eggers definitely demonstrates his technical mastery through meticulously crafted shots that honour German Expressionism, while creating something uniquely modern. The attention to period detail extends beyond the aesthetics; the dialogue, mannerisms, and social interactions all feel authentic to the setting, while at the same time, speaking to present-day concerns about power, gender, and societal control.
A Performance That Captured the Spotlight
Lily-Rose Depp
At the heart of this gothic masterpiece is Lily-Rose Depp’s hypnotic performance as Ellen Hunter. Her portrayal is a perfect blend of vulnerability and barely contained power. Her command of the English accent adds another layer of authenticity, but for me, it is her physical acting that truly stands out. Every gesture, from the way she carries herself in a trance state to her facial expressions, body movements, and choreography, speaks volumes to Ellen’s internal struggle.
What makes her performance so remarkable is how she communicates Ellen’s transformation through subtleties. In some scenes, she maintains a rigid posture reflecting societal constraints, while in others, we see a fluidity of movement that suggests liberation. Her eyes also tell a story of their own, shifting from desperate fear to dangerous curiosity, to eventual dark acceptance.
The skill of Lily-Rose Depp’s performance shone, and I could feel her commitment to the physicality of the role. She creates a haunting depiction of possession and conflict through contorted movements, and her interpretation of 19th-century hysterical patients was brilliant. Her character’s psychological deterioration, through entirely practical execution of spasms and seizures, performed without CGI, demonstrates Lily’s physical control and dedication. The result is a performance that is historically informed, visceral, evocative and immersive.
The Language of Costume
Binding and Liberation
The striking costume design presents a visual language for our Gothic heroine. Ellen’s journey from oppression to deliverance is depicted through her clothing. In daylight scenes, she is constrained by corsets and bonnets, which represent physical manifestations of patriarchal control. The muted colour palette reflects her melancholic state, while restrictive garments mirror societal constraints.
In nighttime scenes, Ellen’s ethereal nightgowns symbolise her supernatural awakening. Her billowing gown, almost luminescent in the darkness, represents brief moments of freedom when she can access the taboo or clairvoyant part of herself without judgment.
Costumes act as a visual dialogue about female agency and the price of conformity
The wedding gown Ellen adorns herself with is also quite significant, as it is a traditional symbol of feminine submission. The beauty in both the simplicity and intricacy of her garments imbues her story with countless layers of meaning and brilliantly captures her tale of liberation.
The Madonna-Whore Complex
Female Duality
This film explores the Madonna-whore complex through its female characters, particularly in the contrast between friends Ellen and Anna (played by Emma Corrin). Anna represents their society’s ideal woman: blonde, virtuous, maternal, and functioning within social boundaries. Anna’s character is used to highlight Ellen’s darker, more complex nature, yet their friendship is a testament to the possibility and reality of female relationships that bridge this artificial divide.
Women’s relationships often cross societal categories imposed by patriarchal norms and ideologies. Anna’s acceptance of Ellen represents an instance where understanding can be found in a world that constantly seeks to sort and placate female identity.
The Patriarchal Order
Male Characters and Control
The men in Ellen’s life present an interesting look at different forms of patriarchal control. Her husband, Thomas (played by Nicholas Hoult), despite his genuine love, views her as someone to be protected and managed. Friedrich (Aaron Taylor-Johnson) represents institutional power through his dislike of Ellen’s unconventional nature and masking his own repressed desires. The doctor (played by Ralph Ineson), who attempts to “cure” her through physical restraint and pseudoscientific medical practices, authentically showcases the abuse of power within the medical profession.
Only Willem Dafoe’s character, a Swiss professor and outsider, recognises and respects Ellen’s predicament. His marginalisation parallels Ellen’s, suggesting that true understanding can only come from those who exist outside societal norms.
Blooming Terror
The Flower Language of Fear
Throughout the film, there is a subtle but meaningful use of flowers and plants that adds another layer of symbolic depth. In the language of flowers, each bloom carries a specific meaning. The film’s intentional placement of flowers signifies emotional transitions and foreshadows developments in the story.
Nosferatu uses lilacs, which in Victorian flower language represent first love and remembrance. This meaning takes on tragic significance in Ellen’s relationship with her husband Thomas. First love and obsession are poignant counterpoints, emphasising the shift from a pure and innocent love to a dangerous and consuming obsession.
This kind of symbolism, used to explore themes of decay and the subversion of traditional values, is another fantastic element of the movie’s attention to detail.
The Vampire’s Appeal
From Dracula to Twilight
The vampire genre has long served as a vehicle for exploring feminine desire and liberation, and Nosferatu does, of course, build upon this tradition. While the Twilight franchise spoke to teenage desires and the allure of forbidden love through Edward’s restrained passion, Nosferatu presents a darker, more mature exploration through Count Orlok. Unlike the romanticised vampires of True Blood or The Vampire Diaries, actor Bill Skarsgård’s portrayal of the vampire Orlok represents something more primal.
A woman reclaiming her darkness in a world that demands her light
Bill Skarsgård’s performance also encapsulates the unsettling nature of a magnetic yet terrifying entity. He transcends the traditional vampire-victim dynamic. His interpretation of the creature is eerie and fascinating and suggestive of the seductive pull of embracing one’s darkness.
The Subversive Feminist
Woman’s Liberation
What draws me so deeply to this film is its understanding of feminine struggle and transformation. The theme of feeling restricted and tortured as a woman resonates, as does the suggestion that trauma leaves an indelible mark on our lives. Ellen’s journey of embracing her darkness rather than fighting it speaks to a universal truth about accepting all parts of ourselves, even those society deems unacceptable.
Succumb to the Darkness
What truly elevates this film adaptation is its grasp of why women have long been drawn to vampire stories. Far from simple romantic fantasy, these stories have provided a framework for exploring oppression, sexuality, and power. So in an era where discussions of female agency and capability continue to evolve, this Nosferatu feels very relevant.
It is much more than a simple vampire plot; it is a gothic declaration written in shadow and light, blood and desire. It is a reminder that some stories, like the darkest parts of ourselves, never truly die; they just wait in the shadows, ready to emerge when we finally dare to embrace them.
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