While gothic fiction has been prevalent since the 18th century, it reappears as a staple of popular culture during moments of social and political transition. It makes sense, then, that the gothic has reentered mainstream culture now, with shows and films like AMC’s “Interview with the Vampire” and Emerald Fennell’s Saltburn gaining popularity. To me, however, no recent entry into the gothic canon has revitalized the genre for contemporary audiences quite like Robert Eggers’ Nosferatu.
An adaptation of F.W. Murnau’s 1922 classic (which in itself is an unauthorized adaptation of Bram Stoker’s “Dracula”), Eggers’ Nosferatu immediately distinguishes itself from previous iterations through its protagonist. At the heart of the film is Ellen (Lily Rose-Depp), a repressed woman in 1830s Germany who unknowingly awakens the long-dead Count Orlok (Bill Skarsgård), igniting his obsession with her. Whereas Ellen falls into the background of Murnau’s Nosferatu in favor of her husband, Thomas, Eggers chooses to focus on her in order to critique the repression of women in 19th century society. This choice is incredibly effective — Ellen brings a heart to the movie that is sorely missing from the original.
Throughout the film, Ellen is torn between her love for her husband, despite society’s expectations weighing on their marriage, and the summons of the vampiric Count Orlok, who brings death, destruction and an alluring promise of freedom from social norms. When Thomas (Nicholas Hoult) is sent to sell the Count a home, the vampire’s obsession with Ellen threatens to tear the couple apart. I couldn’t help but be surprised by how incredible Lily Rose-Depp was in the role of Ellen. Deftly switching between lust, grief and, at times, full demonic possession, Rose-Depp’s performance does just as much to bring Ellen to the forefront of the film as Eggers’ screenplay. Equally impressive are the performances of Nicholas Hoult as Thomas and Bill Skarsgård as Orlok. The two contrasting performances literalize the two worlds Ellen finds herself caught between- the familiar and the unknown.
The technical elements of Nosferatu do not just contribute to the film’s style and atmosphere, but contribute greatly to the plot. Jarin Blaschke’s cinematography builds a sharp contrast between the shadows of Count Orlok’s castle and the sunlight (often in the shape of a cross) that will eventually bring the vampire’s death. The framing of certain shots allude to the German motif of death and the maiden, further centering the relationship between Orlok and Ellen. Meanwhile, the costumes and production design build an authentic atmosphere that brings viewers straight into the 1830s. With each piece of the film working in tandem, Nosferatu is not just a film, but an experience that leaves audiences thinking long after the credits roll.
I had high expectations for Nosferatu — Robert Eggers directed my favorite film of all time, The Lighthouse, and the story of Dracula, in any iteration, is one of my favorites. Eggers not only met my expectations, but did something I didn’t anticipate by successfully bringing the gothic genre to a new audience. Nosferatu has sparked a huge conversation on social media about the relationship between Ellen and Count Orlok. Gothic fiction has always been interested in exploring differences in power, and so the discussions around power dynamics and sexual abuse ignited by the film are not only important, but have brought the core themes of the gothic genre back into mainstream culture.
Nosferatu has entered the cultural zeitgeist in such a huge way not just because of its themes, but because it presents these themes in such an impactful way. It is the combination of the tight screenplay, powerful performances (especially Lily Rose-Depp’s) and technical excellence that has brought the film to such a wide audience. While the film itself has cemented itself as my favorite of 2024, I am also excited to see that Nosferatu has resonated with so many viewers. By focusing on Ellen, the film has successfully reinvented a classic story for the modern audience and brought the themes of gothic horror back into the mainstream.
Nicholas York is a sophomore in the School of Industrial and Labor Relations. He can be reached at nay22@cornell.edu.
