After months of anticipation, the unique horror film Nosferatu has finally been released in Indonesia. Directed by Robert Eggers, this film is a remake of the iconic 1922 German silent horror classic Nosferatu: A Symphony of Horror by F.W. Murnau. The film boasts an all-star cast, featuring Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, Simon McBurney, and the legendary Willem Dafoe. With Eggers’ masterful direction and such a stellar lineup, could Nosferatu be one of his finest works?
For those familiar with Nosferatu: A Symphony of Horror, the remake follows a similar storyline. Watching the original film years ago, I was immediately reminded of Bram Stoker’s famous novel Dracula, which was also adapted into a film by Francis Ford Coppola in 1992. Murnau blatantly borrowed the original story but changed the characters’ names to German ones to avoid copyright issues—Dracula became Orlock, Jonathan became Thomas, Mina became Ellen, and Abraham Van Helsing was renamed Albin Eberhart von Franz. Stoker’s widow eventually sued Murnau and won, resulting in a court order to destroy all copies of the film. Fortunately, a few prints survived, and the film eventually entered the public domain. Nosferatu: A Symphony of Horror is now regarded as a masterpiece and one of the most influential expressionist films of its time.
Despite the controversy, Nosferatu (1922)’s visual achievements and strong mise-en-scène elements have fascinated many filmmakers, inspiring multiple remakes. The film even led to Shadow of the Vampire (2000), a fictionalized behind-the-scenes story of its production, starring Willem Dafoe as the monstrous Orlock. Now, Robert Eggers—known for his unique horror films like The Witch, The Lighthouse, and The Northman—finally gets his chance to modernize this legendary tale. Eggers is one of the rare contemporary directors with a gothic aesthetic that aligns with visionaries like Tim Burton and Guillermo del Toro, drawing clear inspiration from German Expressionism.
For fans of Expressionist cinema, this film is a nostalgic treat wrapped in a modern package. Eggers incorporates nearly all the stylistic hallmarks of the movement, especially in Count Orlock’s castle. Many shots serve as tribute to the original film, blending Eggers’ signature style with gothic set designs, stark contrasts of light and shadow (low-key lighting), soft color tones, close-ups, and heavy use of shadow play throughout key scenes. One of the most iconic moments—where the vampire’s shadow ascends the staircase—is beautifully recreated as a direct homage to the original. Eggers crafts his visuals with incredible elegance, accompanied by a chilling musical score that amplifies the film’s eerie, almost supernatural atmosphere—just as he did in his previous works.
Beyond the stunning visuals, the cast plays a crucial role in bringing the story to life. Standout performances come from Willem Dafoe and Ralph Ineson, both of whom have worked with Eggers before. They seem to fully understand his highly theatrical style, with Dafoe delivering another captivatingly expressive performance, reminiscent of his work in The Lighthouse. Meanwhile, Lily-Rose Depp commands attention as Ellen Hutter, initially soft-spoken and delicate but later transforming into a wild, almost possessed figure as she becomes Orlock’s bride. Nicholas Hoult delivers a solid performance but doesn’t quite dominate the screen. The rest of the cast is decent, though Aaron Taylor-Johnson shines in a few emotionally charged moments.
While Nosferatu borrows heavily from Bram Stoker’s legendary story, the film ultimately serves as a showcase for Eggers’ distinctive aesthetic vision. No one is likely to complain about the adaptation choice—if anything, it’s a smart move by Eggers, allowing him to fully explore and refine his signature style. Mission accomplished! Nosferatu triumphed at the Academy Awards in all visual categories (cinematography, production design, costume design, and makeup) and dominated numerous film festivals in the same categories. The film was also a commercial hit, grossing over $172 million globally (and still climbing at the time of writing, especially with its Oscar buzz). Moving forward, I hope Eggers returns to original storytelling, as he did with The Witch and The Lighthouse.
