Dream projects coming to fruition are a miracle. Rarely does one get the ability and resources to finally tackle their dream project, and even more rarely does it actually work out as the artist intended. Sometimes a director spends decades chasing the vision, like Terry Gilliam with The Man Who Killed Don Quixote, others get close but never finish, like Alejandro Jodorowsky’s Dune, and some never get made in the first place. However, when the stars align just right, a creative can not only craft their dream but also make it their masterpiece. This is the case with Robert Eggers’ latest film Nosferatu his modern remake of the 1922 film of the same name. Eggers’ Dream Come True is a must-see horror triumph, from its immaculate cinematography to its masterful performances. 

The performances found in Nosferatu act like redemption arcs for everyone involved, in which nearly every actor transcends their previous work, becoming significantly more than what their previous work would lead you to believe. Lily-Rose Depp, probably best known now for her work in the much-maligned HBO show The Idol, gives a career-defining performance that feels most comparable to Reagan from The Exorcist. Depp is engaged in a constant balancing act switching between erratic possession scenes to soft, caring displays of compassion amid this horrifying nightmare experience. What’s more compelling is Depp’s ability to switch between these two modes in a single scene, operating like an expert stunt car driver seamlessly transitioning between gears in the exact moment that scene calls for her to do so. Her emotional versatility and raw physical movements make for one of the most memorable performances of the year. 

Opposite of Depp is the titular Nosferatu portrayed by Bill Skarsgard who redeems his lackluster action hero run (remember Boy Kills World? Or The Crow?) by returning to his bag as THE monster character actor of the modern age. Along with being Pennywise from the IT films, I believe it’s safe to say that Skarsgard could be considered the Boris Karloff of this generation, due to his absolute talent for completely transforming into the creature he’s playing. The secret ingredient to Skarsgard’s performance has to be how he uses his hands and fingers. While yes, Skarsgard is draped in a heavy layer of cosmetics, his physical movements feel organic yet somehow ethereal as he carefully glides his hands across the screen to conduct a magical spell or sign important real-estate documents. In addition to his bodywork, Skarsgard’s voice is perfectly sinister with this deep, booming voice that is as enticing as it is menacing. This is possibly his greatest transformation as a character actor and potentially Skargard’s most powerful performance even when he’s covered in shadow and prosthetics. 

While not an equal transformation, Nicholas Hoult’s performance as Thomas Hutter reminds the audience that he’s got serious acting chops beyond being a silly king or a blue beast X-man. Likewise, Aaron Taylor-Johnson proves that he can handle serious roles beyond comic book characters with his portrayal of Friedrich Harding, the sort of straight man of this tale. Just when you thought there weren’t enough former superheroes in this film, Emma Corrin swoops in as Anna Harding, the wife of Friedrich and close friend to Ellen. While having less screen time and lines, Corrin firmly fits into their supporting role and reminds audiences that they are also one of the great young talents working today. 

Lily-Rose Depp and Nicholas Hoult in ‘Nosferatu’

Aside from the leads, the film features a trio of superb character actors to fill out the ensemble. At the lead is returning Eggers collaborator (and personally my favorite working character actor) Ralph Ineson as Dr. Wilhelm Sievers giving a very solid, stern voice of reason and exposition dump performance. Following him is the much beloved Willem Dafoe in the role of Prof. Albin Eberhart von Franz who completely steals the spotlight in every scene he’s involved with with eccentric mannerisms and beautifully dense and convoluted explanations to the mystical moments of the film. Rounding out this trio is the horribly underrated Simon McBurney, who showcases a wonderfully manic performance as Knock. McBurney, much like Depp, goes through a complete metamorphosis from a relatively normal businessman, to a complete goblin henchman of the titular vampire lord. It’s a hoot, an extremely entertaining performance that I hope gets the attention it deserves. 

While the performances in this film are truly spectacular, the real star of this film has to be the visual style on display from Robert Eggers, his cinematographer Jarin Blaschke, production designer Craig Lathrop, and art director Robert Cowper.  A frequently creative collaboration, this team has always championed historical accuracy in their films, whether it be using period-appropriate sets, or costumes designed and constructed to match the era, all of these aspects are used to help construct authentic depictions of folklore, fantasy, and/or mythology. This choice to depict Nosferatu in this style of realism helps ground the work in reality which in a way makes the horror feel more real, as if this is what it would actually look like if this were to happen in our reality. You can see this in their previous work on The VVitch, The Lighthouse, and The Northman, where Eggers and Company attempt to present the setting with as much authenticity as physically possible. This can be seen in aspects like the costuming and architecture, which help make Nosferatu feel both historical and mythical. These creative choices help engulf the audience into the world they are experiencing, making Nosferatu feel like a genuine nightmare that you can’t wake up from. 

In addition to the art direction, the cinematography is top-notch here. Using primarily natural light sources as well as era-appropriate lamps and candlelight, Blanschke and Eggers craft perfect frames where the light illuminates the exact area they want the audience to see, leaving the rest in eerie shadow, a perfect place for evil to lurk. Darkness and shadow are used expertly to convey the terrifying power of the vampire count, whether it be by illustrating his striking silhouette or hiding just enough of his figure to make him look something beyond mortal comprehension. Where most modern filmmakers seem to lean more into overlighting scenes and using post-production to reduce shadows, Eggers and Blanschke zag, choosing to make darkness their primary tool, making some of the most visually striking scenes of the year. 

All of the performance and visual choices act as elegant icing for the very traditional cake base in Nosferatu’s plot. This is by no means a groundbreaking new take on the classic story originally told in Bram Stroker’s Dracula, but instead a very carefully crafted retelling. There are very few modern twists or subversions, instead, Eggers goes for a more straightforward, faithful interpretation. Now is this boring? Well, kind of. However, in pondering if I should call this a negative, I am reminded of the eternal quote, “If it ain’t broke, don’t fix it.” And well, while the story could be considered pretty orthodox, the filmmaking and performances are far from it, helping to make Nosferatu one of the most engaging horror films of the year.

Lily-Rose Depp in ‘Nosferatu’

While the plot and pacing of the film can drag at some moments, Nosferatu is a near-perfect dark fantasy horror film that should be revered as Eggers’ masterpiece. While not the scariest film of the year (Sorry but I still have nightmares about Oz Perkins LongLegs), Nosferatu is a triumph through its compelling performances and masterful display of filmmaking ability. Firmly one of the best films of the year that I hope will get the praise and accolades its cast and crew deserve. 4.5/5 with the chance of becoming a 5/5 with retrospection and more viewings in the future. 

A remake of F.W. Murnau’s cinema classic and based on Bram Stroker’s original Dracula tale, Nosferatu follows the story of Ellen Hutter (Lily-Rose Depp) who is haunted and later hunted by the immortal vampire Count Orlok (Bill Skarsgard). What follows is a plague of nightmares and terror as Orlok attempts to consume and kill Ellen’s husband Thomas (Nicholas Hoult) as well as their close friends Friedrich (Aaron Taylor-Johnson) and Anna Harding (Emma Corrin), all in his attempt to make Ellen his bride. The film includes performances from Willem Dafoe, Ralph Ineson, and Simon McBurney, and is directed by Robert Eggers. The film is produced by Focus Features, Maiden Voyage Pictures, and Studio 8 and is set to release on Christmas Day December 25, 2024.