Nosferatu (2025) – A Symphony Of Brilliance

Released: 1st January
Seen: 3rd February

The 1922 film Nosferatu: A Symphony Of Horror feels like some kind of miracle, namely that we still have access to the film at all. Made in Germany as an unofficial adaptation of the Dracula novel, the original film was the subject of a copyright lawsuit brought on by Bram Stroker’s widow and all copies were supposed to be destroyed by fire. Somehow, a few copies of the film managed to survive and would soon be circulated around the world where it would become not only a cinematic classic but one of the most influential horror films of all time. People have referenced Nosferatu for almost a century now, the infamous shot of Count Orlock’s shadow against the wall with his fingers stretched out alone has been copied by more films than one would dare count and so many vampire films have copied the visual appearance of Count Orlok to some degree. It’s a film that has influenced many and even been the subject of a few remakes, including this remake by Robert Eggers which manages to take the classic material and elevate it in a way only Eggers can.

Nosferatu follows the same basic beats of the Dracula story that we all know. Set in 1838, a young man named Thomas Hutter (Nicholas Hoult) wants to ensure the best life possible for his young wife Ellen (Lily-Rose Depp) and so he decides to take on a job offered by his boss Herr Knock (Simon McBurney) where he just has to sell an ancient mansion to a reclusive old man. That reclusive old man is Count Orlok (Bill Skarsgard) who also happens to be an ancient vampire who is trying to get hold of Ellen as he has become obsessed with her… from there, it’s the standard stuff, the ship trip on the Demeter, Orlok slowly slaughtering a town, plague analogy, you know the drill.

If there was ever a director destined to remake the classic Nosferatu it was always going to be Robert Eggers. Eggers is known for this strange period gothic horror stuff and it’s kind of hilarious that the first bit of known IP he’s decided to use as the basis for one of his movies is Nosferatu. That combination of director and IP fits so well that it’d actually be a bigger shock if this film ended up not working out but it turns out that when the most obvious director and IP combination happens it ends up being pretty damn perfect. Anyone who knows even a little bit about Eggers and Nosferatu saw this film’s greatness coming a mile away but damn it’s still wildly impressive how well it works out.

Part of what makes Nosferatu great is the attention to detail that just penetrates every single frame. Every single set, every item of clothing, every shot is thought out on a level that almost no one else is even considering in cinema. Eggers is known for being very careful when it comes to his period films in making sure that every single thing is not only visually similar to the ways it was in the actual period but that it’s constructed in that manner, this care shows wonderfully in the work that’s been presented. Were it not for the use of modern actors we know, this could feel like a film somehow actually shot in 1830 because the setting just feels so real. 

That attention to detail in the world-building has allowed the cast to completely commit to this glorious work of art, bringing their best every single second they get. They give performances that feel like they belong in this period and every single one is completely captivating. While Nosferatu does occasionally use the classic jump scare or a bit of the red stuff, the performances and visuals are so strong that it can get the audience shaking in fear just by showing one of our lead actors screaming at something off-screen. They’re also able to dance around the worlds of gothic horror and terrifyingly erotic with an undeniable ease, this is particularly strong with Lily-Rose’s performance where she can go from being the most scared woman you’ve ever seen to Count Orlok’s favourite concubine in a single shot and it’s incredible.

The stunning thing about Nosferatu is that it shouldn’t work just due to the oversaturation of Vampire media in the last few years. Every moment in this film should feel old hat, especially any scene where people are walking around graveyards wearing old hats! By all rights, we should look at this and go “Seen it before” because it’s literally a remake of one of the most well-regarded and referenced films in history but somehow Nosferatu pulls off the biggest magic trick and ends up feeling like a fresh take on the material. Its full leaning into the period and the uniquely Eggers style of filmmaking has given new life to the classic, letting its terror seep into the bones of anyone who watches it.

All of the work done to make Nosferatu look like it’s lifted right out of history clearly hasn’t gone unnoticed since it’s several Oscar nominations have given it even more prestige than a lot of other horror films before it, but it earns every one. The cinematography is perfection, dark and intense in a way that references the original work without just straight up copying it. The production design and costumes have earned all their praise with the specificity that’s obvious in every single second you get to see them and the makeup (largely on Orlok) is incredible. I have to join the cacophony of voices asking how Lily-Rose Depp isn’t a nominee and how it’s not in a Best Picture slot because this is a truly special piece of work but I don’t think it’s possible for them to hear me and fix things now.

Nosferatu is glorious, a dark grim take on an iconic piece of horror history that feels like it might one day be considered as important as the film that inspired it. It’s easily the best thing that Eggers has made, which is saying a lot considering this man’s career. It’s a truly beautiful nightmare that should be required viewing for anyone with even a passing interest in horror or cinema. It’s the kind of art that we need, the kind of remake that justifies its existence with raw talent and skill. There aren’t many times that a remake feels like it needed to exist, but this is one of those rare times where a remake not only felt inevitable but absolutely needed and it’s been worth the wait.