by Mo Moshaty

The newest iteration of F.W. Murnau’s horror classic brings new terror, new issues and some tongue in cheek to Wisborg in Robert Egger’s haunting tale.

We’re all familiar with Count Orlok’s lament, a monstrous infatuation, a hard-fought human connection from an otherworldly place, but in this slick and beautiful version, we’re also shown just how far love can stretch before it breaks. At it’s core, Nosferatu (2024) keeps the obsession and lack of autonomy to its highest peaks. While staying true to the story beats, Eggers branches out in some very exciting places with dynamic characters and gorgeous set pieces, not to mention creature design.

We begin our journey to hell and back in Wisborg, Germany, 1838, where British accents abound (natch). Thomas Hutter (Nicholas Hoult), a newlywed and lowest rung on the ladder of a real estate firm, is tasked by his employer Herr Knock (Simon McBurney) to close a deal for a one Mr., eh, Count Orlok. Due to Orlok’s delicate health and reluctance to travel, Hutter must make the long trek to him and that means leaving his also delicate new bride Ellen (Lilly Rose Depp) in the charge of their friends Anna (Emma Corin) and her husband Friedrich (Aaron Taylor-Johnson), a journey that leads to forced abandon and absolute ruin.

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Decaying castles, fog-shrouded forests, mysterious villagers and eerie, moonlit landscapes provide the perfect backdrop for the treacherous hike. Though the harrowing ascent to Count Orlok’s castle, a heavy unease sets upon Thomas and upon further inspection when he’s within Orlok’s walls, that unease morphs into terror. Orlok (a fully unrecognizable Bill Skarsgård), isn’t your thrally Christopher Lee type sanguinisto; he is putrid, menacing, and parasitic with a low grumbling and asthmatic voice that sucks every ounce of hope out of a room.

All it takes is one glance of Thomas’ locket containing Ellen’s picture to send Orlok into overdrive as he telepathically seeks her out. But Ellen is no passive victim; burdened by a haunted past, she knows what she’s up against and rallies all forces – though no one picks up a sword in her honor. Enter Doctor Wilhelm Sievers (Ralph Ineson) and Prof. Albin Eberhart von Franz (Willem Dafoe) who seem to be the only ones who understand the cost of obsession and how unchecked desire and misplaced belief can ravage the mind but also society. It’s a bloody battle to the death with blood and death dealt in spades.

Nosferatu (2024) stands out for how Robert Eggers modernizes the story, evoking a fresh sense of dread while respecting its gothic roots. While earlier versions like Werner Herzog’s 1979 remake expanded on the original, Eggers reimagines themes of obsession and human frailty through a contemporary lens, making the terror feel more immediate and personal. This adaptation captures not only the essence of gothic horror but also the modern anxieties of obsession, power, and human vulnerability, themes that remain relevant across time and culture.