Nosferatu (2024)

"Professor, my dreams grow darker; tell me, does evil come from within us? Or beyond?"

There's already been so much discourse about this film on various platforms, which I think is a sign of a good film. I must preface, I have not seen the original, nor do I know much about the lore of Nosferatu or vampires in general. This may contribute to my lack of gothic romance understanding, but I don't think it diminishes my overall understanding of this particular interpretation; speaking of which, there are so many interpretations that one can take away from viewing this particular version. Viewing it as a representation of standard gothic romance with the perspective of Orlok being Ellen's sexuality and darkest desires with Thomas being her romantic desires is one way, and changes the way Nosferatu is percieved; the perspective of Orlok being what he is, a vampire, and a monster at that, also alters the way Nosferatu is percieved; lastly, the perspective of Orlok being an embodiment of Ellen's trauma and borderline an abusive figure is another. I do not believe any of these interpretations are wrong, and beginning to acknowledge that nobody's takeaway from this film is inheretently "wrong" is where cinema appreciation truly begins; unfortunately, we are not there yet, where many think their way of percieving an art piece is the only way. I digress, and must emphasize that I interpreted it in my initial viewing as the latter. 

I didn't think that 2024 had any five-star films left, but here we are, to my surprise. Robert Eggers, the man that you are. I have yet to see a miss from him or a film that I didn't at least somewhat enjoy or understand has a deeper meaning. I was expecting a lot from this film and was extremely excited going into it, but feared disappointment and over-hype; I was graciously not disappointed, and in fact, greatly impressed. I really think that this film encapsulates gothic horror well, where peak cinema truly makes a return. 

All of the actors did a phenomenal job in their respective roles, with Bill Skarsgard doing absolutely wonderful as Count Orlok and Nicholas Hoult impressing as Thomas Huttler; Willem Dafoe stuns, as per usual, and Emma Corrin and Aaron Taylor-Johnson did wonderfully as a married couple. I must acknowledge Lily Rose Depp's performance in particular, seeing her in only one film prior, where she really put effort into this role and upped her game. Also the insane fact they did this without CGI and her contortions and Bill's voice were all naturally done. The cast did an amazing job at dedicating themselves to their roles, and the old, vintage, gothic-feel of the film is really portrayed well with each of their characters. 

The cinematography was well-excuted, in my opinion, as well. I loved the shots between walls, even though I was scared Orlok would appear with each pan, and the following of the long-nailed, decrepit hand. I was told by a friend this was done in the original as well, in which I wouldn't know, but if it was, I love that they kept this attribute. Not only was I intrigued by the scenery, but also invested in the characters, and scared at some points where I genuinely jumped. I loved the scenery and the fact they used live-animals (while none were harmed and all accounted for) along with real candles to add to the ambiance of the eerie vibes. I really loved how immersed this film made me feel, where I can't remember the last time I really felt like I was a part of the world that was being portrayed on-screen. 

As for the film itself, I understand that there are many takes that could be taken away from this version, and as stated previously while none of them are "wrong," I do find frustration with those who are thirsting (no pun intended) over Orlok or romanticizing Orlok when, upon my initial viewing, I felt that he was a predator; not only a monstrous one, but an emotional one. This is the way that I interpreted the film, and how my review will reflect that in the following. 

Count Orlok preyed on a vulnerable, young Ellen who only sought company while feeling isolated. Regardless of how you interpret the "attack" (meaning physically, sexually, or emotionally), he attacked the younger Ellen nontheless, preying on someone vulnerable and asking for companionship and crying out for help. This was my first "mmm…" thought about Count Orlok and what led me to interpret Count Orlok's character as an embodiment of Ellen's trauma. 

In this perspective, it's frustrating seeing people romanticize Count Orlok "Ah, need someone to release a plague for me" yada yada yada, when Thomas and Friedrich are right there. Thomas held Ellen even when she proclaimed she was "unclean," showing his love for her anyways. Friedrich stayed with his wife through it all, doing what he could to save her from Count Orlok's plague and him himself. In my interpretation, these were the better choices compared to the predatory Orlok, but none of them were without fault, and to each their own interpretation. 

Secondly, Ellen longs for death, which to me, illustrates even further that Count Orlok is an embodiment of her trauma, or death itself. To me, I like the perspective that trauma will kill you if not confronted and hurt those around you if not resolved. It really symbolizes the want for death when experiencing trauma, in which I believe a lot of people can understand and relate to, and how it impacts those around you if unattended to. 

In addition, Count Orlok in this version himself says he is not capable of love, as he is only an appetite; "I am an appetite, nothing more." I think this also contributed to my belief that Count Orlok was just a personifaction of Ellen's trauma, where no romantic or empathetic feeling was involved whatsoever. Even the concept of Ellen having to be the one to "consent" to the taking and re-vowing herself to Orlok isn't really consent to begin with, with the pressuring of Ellen and threats made by Count Orlok if she refuses, which I believe many others can also relate to, unfortunately. 

Whether you interpret this as Count Orlok as Ellen's deepest, darkest desires or an embodiment of her trauma, I think the ending was truly beautiful in whichever case you decide to percieve the film, the embracing of whatever Count Orlok is designated to be is the only way of truly accepting defeat and being at peace. I really like this aspect, that in whatever case it may be, there is only one ending, in which you must confront these desires or this trauma head-on and only you can be the one to do it. 

I really enjoyed this film and I think it's a great theatrical release to end the 2024 year on. Another five-star film, to me, to conclude the year and one that definitely has multiple interpretations, which I appreciate and think showcases a well-done film. Definitely one that will be added to various lists and one that I'm going to have to rewatch to fully grasp. In either case, I think that with each watch, there will be something new to take away, or a new perspective or interpretation provided, which I think is truly peak cinema and truly beautiful.