Tag Archives: Robert Eggers

Nosferatu (2025) Review: Robert Eggers’ triumphantly terrifying return to vampiric form

It is unlikely that the director of Nosferatu (1922), F. W. Murnau, would’ve imagined 102 years later there would be a remake of his film which so closely recaptures the essence of the original. When I first watched Murnau’s original film, I was immediately struck by its captivatingly ominous atmosphere, despite the fact it is one of the oldest films I’ve ever watched. I found it to be particularly effective when the titular vampire wasn’t on screen. As a viewer you’re only left to imagine what his presence is like, the musical score and camera work reminding us that he is coming, filling us with dread. I can imagine this is how Robert Eggers felt when he first watched the film, as a remake has been a passion project of his for 10 years. Despite his minimal filmography, Eggers’ has proved himself to be one of the most interesting and distinct filmmakers of the past decade. The Witch (2015), The Lighthouse (2019) and The Northman (2022) all have a uniquely identifiable style, despite the fact they overlap into multiple genres. Having previously written about both Robert Eggers’ films and Nosferatu (1922), I was adamant that there was no other filmmaker who could successfully produce a modern remake of the horror classic given the overlap between their distinct yet straightforward approach to horror. Now a new year has arrived with a new take on the horror classic, I can safely say I was not disappointed.

Just as the 1922 original was, Nosferatu (2025) is effectively a retelling of Bram Stoker’s 1897 novel Dracula. The original was, in fact, an unlicensed adaption, so much so that Stoker’s widow won a lawsuit against the film which allegedly led to all copies of the film being destroyed. Of course, this wasn’t enough to stop the original from continuing to live decades later like some vampiric monster. Solely the fact that Eggers was able to successfully breath new life into a story which has been told countless times across many different medias proves not only the timelessness of the story, but his ability has a filmmaker. Nosferatu (2025) is effectively the same story as Dracula; a solicitor is called to sort a property deal out with a mysterious Count who resides in a creepy, isolated castle and eventually makes his way to the solicitor’s hometown to feed on the living. So how does one successfully retell a story which has been done to death? (Pun intended).

One of the first things that’s most striking about Egger’s film is its faithfulness to the time period. Nosferatu (2025) is set in 1838 Germany and you well and truly believe it. As demonstrated in his previous films (especially 2022’s The Northman), Eggers has shown to be able to masterfully capture historical accuracy, from the set design to the character’s speech. Nosferatu (2025) is no exception. The dialect is almost Shakespearean yet completely understandable for a modern audience, and the costume and set design fully immerses the audience into the 19th Century. Even the minimal use of lighting makes some scenes almost look black and white, creating that creaky, claustrophobic feeling that the 1922 original conveyed. Of course, the use of lighting and shadows is a big factor in also conveying the generally creepy atmosphere that you’d expect from a gothic horror film. This is something that combines Eggers’ distinct directorial features with what is required of a Nosferatu film; further supporting the notion that there was no other filmmaker right for the job. One sequence in particular involving horses and a carriage in a forest was particularly captivating for its camera work and use of shadows, reminding the audience that the titular vampire’s is somehow omnipresent…

Rarely is it that one can describe an actor truly ‘disappearing’ into a role. The only recent examples I can think of is Colin Farrell as The Penguin in Matt Reeves’ The Batman universe, or possibly Nicolas Cage in last year’s horror film Longlegs. Partly due to the incredible makeup and costume work, and partly due to the exceptional performance. The same can be said for Bill Skarsgård as Nosferatu. As far as I’m concerned, you’re not watching Skarsgård. You’re watching the real Count Orlok who happens to have a taste for the blood of the living. I appreciate the fact his appearance was kept relatively secretive before the release of the film, which makes his performance even more striking. When he first appears you still don’t see him; being out of focus in the foreground or background as the main focus is Nicholas Hoult’s terrified reactions as he listens to the Count’s deeply raspy tones. Skarsgård apparently worked on the voice for Nosferatu for weeks, providing a slow, deeply unsettling tone which combines the temperament of a Transylvanian lord and something much more sinister. His appearance may not be what you expect, but it certainly harkens to the appearance of 15th Century Prince Vlad the Impaler, who was allegedly the original inspiration for Stoker’s Dracula.

Just like the 1922 original, Nosferatu’s presence reverberates throughout the film, in part due to the fantastic performances from the film’s cast. As mentioned, Hoult’s Thomas Hutter seems genuinely terrified when he first meets the Count, as if it is the first time he’s seeing Skarsgård in full costume and makeup. As previously mentioned, the film’s dialogue is very Shakespearean-esque, which allows the actors to really play the time period to their full potential. Aaron Taylor-Johnson is excellent as Hutter’s friend and vampire skeptic Friedrich Harding, who effectively plays as a counter act to Willem Dafoe’s Professor Albin Eberhart Von Franz, a Swiss philosopher who happens to be an expert on the occult and all things vampiric. I truly believe Dafoe would fit right at home in any historical time period. The unique eccentricity in his performances in Eggers’ films show his versatility as an actor and his ability to adapt to any period of history. Ralph Ineson, who I believe is a substantially underrated actor with his low, raspy, Yorkshire voice, is also great as the doctor who treats Ellen for her ‘sickness’. Which brings me to the performance that everyone is going to be discussing; Lily-Rose Depp as Ellen Hutter. The film requires a lot from her as an actor both emotionally and physically; convincing us that she is under the spell of the Count by physically contorting her body and face without any additional editing, which she pulls off with terrifying magnificence. Similarly, however, Simon McBurney as solicitor turned madman Herr Knock terrifically pulls of feats of terrifying emotional and physical derangement which must also not go unappreciated.

Nosferatu (2025) is a real treat for horror fans. It is clearly a film made by people who truly care about the source material and historical accuracy, and whose sole interest is immersing an audience in its world for two hours. It recaptures the distinctly unsettling atmosphere of the original, whilst using particularly grotesque and terrifying imagery to revitalise the horror for a modern audience and show us that vampires can still be scary. As for criticisms, I struggle to find many. Being a gothic horror film, some may find it a little slow paced, and it could perhaps leave you wanting to see more of the Count himself, but ultimately that is the purpose of the film. To take the time to fill its audience with dread and only imagine the horrors that await. I wouldn’t even describe Nosferatu as scary, but it doesn’t need to be. Scaring a modern film audience is an increasingly difficult task year by year, and films such as this opt to consistently and effectively unsettle and discomfort an audience rather than outrightly scare them, which is arguably just as effective. Everything from its chilling musical score by The Northman composer Robin Carolan to its exceptional historical accuracy, Robert Eggers’ Nosferatu is a film made to be seen at the cinema, and might very well be Eggers’ magnum opus. Happy New Year to cinema.

Rating: 4.5 out of 5.

‘The Northman’ review: An epic tale of vikings, valour and vengeance

I don’t think the word ‘Viking’ is uttered once in the entirety of The Northman. This appropriately epitomises the authentic Norse feel of the film, as you don’t always need words to convey a feeling in filmmaking. Director Robert Eggers absorbs us in a brutal yet ancient world which runs red with the blood of fathers and sons, overseen by the Norse all-father God Odin. In typical Eggers style, the film blends the real world with the supernatural, using tight cinematography and ominous lighting to create an other-worldly feel to a period of real history. Eggers and Icelandic writer Sjón tell a tale which runs a thin line between valour and vengeance, and how following one’s fate isn’t always as straightforward as it seems. In a world filled with axes, gods, and the threads of fate, good and evil doesn’t exist; it is simply whoever plunges the sword in first.

The Northman follows Viking prince Amleth (Alexander Skarsgård) as he sets off on a path to avenge the death of his father, King Aurvandill (Ethan Hawke). The plot is based on the medieval Scandinavian legend which inspired Shakespeare’s Hamlet, which is very evident in the film’s story and performances. Every member of the cast give Shakespearean-esque performances, expressing raw emotion when needed and blending English with ancient Nordic tongues, which only adds to the other-worldly feel. Skarsgård gives a furious yet empathetic performance as Amleth; providing us with the raw, animalistic rage of a vengeful Viking, but also showing us he’s not completely unrelenting or heartless in the right moments. Anya Taylor-Joy is also a highlight, portraying Amleth’s love interest and Slavic sorceress Olga with supernatural charm, proving yet again her versatility in historical roles. Willem Dafoe was also a pleasant surprise to the cast, playing King Aurvandill’s fool in what would quite possibly be Dafoe’s ideal career if he lived in a Viking world. Ethan Hawke and Claes Bang’s performances as King Aurvandil and Fjölnir respectively also add to the authenticity of the world, and give modern day audiences an idea of how much Vikings valued bloodlines and vengeance.

The Northman also gave us with what is probably my favourite film score of 2022 so far. First-time film composers Robin Carolan and Sebastian Gainsborough experimented with ancient instruments to perfectly capture the scale of the world Amleth journeys through. From the resounding horns expressing the grandeur of Viking Norway and Iceland, to the atonal, sporadic strings conveying that unnerving atmosphere which has become so synonymous with Eggers’ supernatural style. Along with the soundtrack, the immense production design of the film helps capture the essence of the time period. The beautiful Icelandic landscapes make for some stunning cinematography, and the impeccably unclean and rough costume design give us sense of historical authenticity which I have the upmost appreciation for in these types of films. There’s even some sequences of what can only be described as recreations of traditional Viking rituals. Their ridiculousness by today’s standards is compensated by the fact that not many films would go that far in capturing the authenticity of the time. Only in a film like The Northman could a scene of a group of filthy Norse men dancing around a fire pretending to be wolves be so satisfying. The action sequences are slick and bloody as they should be, often consisting of satisfyingly long takes but never too gratuitous. There’s even a game of ‘Knattleikr’ which is like Viking hockey except much more brutal and appropriately violent as it would’ve been back then. As for the film’s supernatural elements, to the casual viewer they may seem slightly jarring at first, but similarly to Eggers’ other films, it elevates the genre just enough to make it unique and interesting. Eggers adds a supernatural element to his films to give modern day audiences a taste of the folklore of the time, and what makes it so effective is how realistically it’s portrayed. It’s never too much that it makes the world feel unrealistic, but never too little that it makes it unbelievable.

The Northman is one of those historical films that transports us back to a time in our world, but a time so long ago that it feels like a different world. It tells a revenge story not unlike others, but one fuelled by Viking rage and sprinkled with Norse mythology. It shows us that even in Viking times, our deeds aren’t always as simple as good and evil, but are better described as a matter of perspective. Amleth is presented as the protagonist, but commits violent atrocities for the sake of valour for his bloodline. Fjölnir is presented as the antagonist, but has moments of genuine sympathy and compassion for those around him. It is a story much like Shakespeare’s tales of old, that of a conflict between compassion for those you love and vengeance for those you hate, and how far one is willing to go to pursue one or the other. The film is long, dark and bloody, so it may not be for everyone, but those who are willing to divulge into some visceral Norse history for two and a half hours may find something special. The historical authenticity and brutal nature of The Northman, topped with the supernatural sprinkles of Norse mythology, makes it undoubtedly my favourite Robert Eggers film so far. It makes me want to pick up and axe and angrily chop up some wood (not bodies) whilst howling like Fenrir the Norse wolf. I’m very much looking forward to the next time period Eggers decides to tackle in a film. I have no doubt he has enough potential to make even the 1990s seem supernatural yet retain their realism. Here’s to a spooky yet sparkly take on PCs and the World Wide Web. Skal!