-Written by Kyle Bain.
A retelling of the 1922 classic, Nosferatu explores the ideas of obsession within the occult–and how those feelings can propel a series of wild and uncontrollable events. Nosferatu follows Ellen (Lily-Rose Depp), as she attempts to overcome something of a possession, one that has haunted her for years and now puts the lives of all of those around her in danger.
Being told time and time again that a film is the best at anything, the best horror movie, best of the year, etc. can set it up for epic failure when viewers swarm the theater with high hopes. Nosferatu was often labeled the “best” in many categories–and while I did go in with an open mind, I hoped, at my core, that this would live up to the hype.
Other than one mishap, Nosferatu is all that was promised. I have an issue with the pacing of the film, as I felt that it moves far too slow. I ultimately chalk this up to personal preference, however, as I’m not entirely sure that there is a way to improve in this regard without negatively affecting the film as a whole. Nosferatu is challenging, and there were times in which I felt bored and (considering I saw this on New Year’s Day) tired. Sure, this knocks Nosferatu down a peg, but the smallest of pegs.
Other than that, Nosferatu is a masterclass in filmmaking. From the actors, who have all established themselves in Hollywood, to the more technical aspects, Nosferatu is brilliant. The actors are perfect in their respective roles. There isn’t much more to say about this, but it’s important to note the integral role they play in developing this film and allowing a nineteenth-century horror film to come to life.
There are two aspects of Nosferatu that work the best, that are most appealing and allow the film to flow and become immersive. Those things are the aesthetic and the score/sound design.
With the original being filmed more than one-hundred years ago, it was released entirely in black and white, so, was Writer-Director Robert Eggers prepared to release his entire film in black and white, or would this iteration of the story be different? Well, he eases us into his film with the opening sequence being massively twisted and disturbing–and that opening sequence is in black and white. That sort of eases us into the film and reminds us of the past–but then Eggers transitions out of black and white, but continues to adhere to a color scheme that greatly resembles the monochrome of that aforementioned black and white. While there are subtle reds and blues present in Nosferatu going forward, they are met with black and white and ultimately exist on something of a grayscale. This use of color helps to develop an intensity necessary to Nosferatu’s success. The color is meant to develop characters, storylines, and the film as a whole, while drawing inspiration from the film that came out back in the 1920’s. This was a brilliant choice by Eggers–a way to draw us in while keeping things simple and yet sophisticated at the same time.
Then there was my favorite part of the film: the score and sound design. I found myself, on multiple occasions, commenting to myself on the use of sound in Nosferatu. The sound design is harrowing, a loud and immersive experience that continues to grow from start to finish. While many of the sounds remain rather even keeled and fluid, there are the more intense instances (i.e. Count Orlok [Bill Skarsgård] as he sucks the blood of his victims) that become more prominently featured, louder, and ultimately more harrowing. These moments are effectively more terrifying than the rest, and they lend themselves to a more successful product as a result.
The score, however, is what got me–what ultimately sold me on the film. The score is simple and rarely featured with prominence in the early going of Nosferatu–but as the film creeps toward a conclusion, the score becomes the focal point. Consumed by Count Orlok and the possibility of death, Ellen’s final moments on screen are paired with the score that is so incredibly romantic, breathtaking, heartbreaking, and harrowing. Robin Carolan creates something so dynamic that I honestly didn’t know how to feel as the film concluded, but I knew that I loved this film. I knew when the score became the most prominently featured aspect of the film as it neared it’s end, that Nosferatu was just as good as everyone had told me. By this time I was floored, ready for more–excited for what the future holds for this production.
Was Nosferatu my favorite horror film of 2024? No, as I found Longlegs and Heretic more compelling. Though, I feel that the level of gravitas present in this film makes it worthy of being considered the best horror film of the year. It doesn’t disappoint, and the only issue that I had with the production ultimately came down to personal preference. There is something interestingly cathartic about Nosferatu, stemming from the score and the unique aesthetic presentation. I very much enjoyed this film, and I think that the future is bright for Eggers, his team, and the production as a whole.
Directed by Robert Eggers.
Written by Rober Eggers, Henrik Galeen, & Bram Stoker.
Starring Lily-Rose Depp, Nicholas Hoult, Bill Skarsgård, Aaron Taylor-Johnson, Willem Dafoe, Emma Corrin, Ralph Ineson, Somon McBurney, etc.
8.5/10 = WORTH RENTING OR BUYING
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