“Nosferatu” is Robert Eggers’ latest film, reimagining the 1922 horror classic. Like most, I was excited to see his take on the iconic story, partly because of Werner Herzog’s phenomenal 1979 remake of the film (I swear I am not a Herzog fanboy). While “Nosferatu” may not be Eggers’ best work, it is still an impressive and haunting film that is well worth watching.

The story takes place in the early 19th century. It follows Thomas Hutter (Nicholas Hoult), a real estate agent who leaves his new wife, Ellen (Lily-Rose Depp), in Wisborg as he travels to Transylvania to finalize a deal with a mysterious client, the reclusive and rather unsettling Count Orlok (Bill Skarsgård). Hutter’s journey, however, releases a strange and demonic evil as Ellen begins to experience dark and disturbing visions and Count Orlok reigns terror on Wisborg. While Hutter is in Transylvania, Ellen stays with friends Friedrich (Aaron Taylor-Johnson) and Anna Harding (Emma Corrin), who seek help from Dr. Wilhelm Sievers (Ralph Ineson) and Albin Eberhart von Franz (Willem Dafoe) to help with her visions and fight Count Orlok.

One of the film’s greatest strengths lies in its performances, particularly those of Skarsgård and Depp. Skarsgård’s portrayal of Count Orlok is deeply unsettling. His movement and physicality are eerily controlled, making his slow and gliding movements feel otherworldly and unnatural, perfect for an ancient vampire. Skarsgård’s height and frame add to Count Orlok’s presence, while his grotesque makeup, with its pale and rotting skin, elongated fingers and hollowed eyes, makes him all the more unsettling and nearly unrecognizable. His slow speech and accent also add to the performance’s ancient tone. It’s a performance reminiscent of Pennywise in “It,” where he also plays a demon.  

Depp delivers a phenomenal performance, balancing strength and fragility with exceptional nuance. She conveys a deep and growing dread for Nosferatu and his impending evil with little dialogue, relying on subtle gestures such as her eyes. Her quiet intensity in these moments highly contrasts her unrestrained performance when possessed, which is sometimes over the top. That isn’t to say they feel out of place; it plays well with the film’s gothic horror. Her dynamic with Skarsgård is incredibly effective, and their scenes are filled with unsettling tension, heightening the horror. Their chemistry makes Count Orlok’s obsession with Ellen even more disturbing, making their scenes together some of the most nightmarish of the film. 

Although Ellen’s performance can sometimes be over the top, Dafoe, a frequent collaborator of Eggers, provides a more grounded performance. Without spoiling it, his dark and humorous performance is my favorite of the film. He injects much-needed humor into an otherwise dark film.

Visually, Nosferatu is breathtaking. Eggers and cinematographer Jarin Blaschke create a beautiful and eerie gothic atmosphere that helps convey the film’s unsettling nature. The film lingers on long shots of mysterious landscapes and castles, showcasing its gothic and historical setting with candlelit interiors and looming castles. The film’s muted colors only show off the shadows, adding to Count Orlok and the impending evil’s presence. The cinematography throughout is hauntingly beautiful, serving to build the film’s sense of impending doom. 

However, Nosferatu is not without its flaws. At two hours and 14 minutes, the film feels its runtime. Eggers is known for his slow-burn storytelling, and while effective at building tension, some scenes run long in an attempt to create atmosphere and showcase cinematography. The film’s drawn-out pace sometimes causes tension to dissipate rather than intensify, undermining the suspense the film works so hard to craft. While the film excels at creating an intense and immersive atmosphere, there are moments when its visuals and acting become overindulgent, slowing the film’s pacing to a crawl and making some scenes feel laborious to watch.

Additionally, while most of the characters feel well-realized and fully developed, some do fail to leave a lasting impact. Friedrich and Anna Harding, for example, serve little purpose other than providing a place for Ellen to stay, with their presence feeling more like a narrative diversion. At times, they seem only to slow the story, padding it out until Hutter returns to Wisborg to confront Count Orlok. That isn’t to say their performances are lacking. Both characters are well-acted, but they lack the depth or significance necessary to make them integral to the story.

Despite the minor shortcomings, “Nosferatu” is a delightfully upsetting experience. Eggers delivers a film that stacks up to the rest of his filmography. Skarsgård’s unsettling performance, Depp’s nuanced portrayal and the film’s stunning cinematography make it a must-see for horror fans. While it may not be Eggers’ best work, it is a worthy addition to his filmography and a strong remake of a horror classic.