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apoloadonisandnarcissus · 2 days ago

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“Nosferatu” (2024) Ending Explained Through Cast and Crew Interviews

“My influences are all very clear, and Nosferatu is a remake, after all,” Eggers says, yet he plays with the canon, with expectations and clichés – “hopefully subverting them to do something unexpected.” (x)

“It is very much Ellen’s story, about a woman who is as much a victim of 19th-century society as she is of the vampire. And this demon-lover relationship she has with Orlok.” (x)

“I think that what ultimately rose to the top, as the theme or trope that was most compelling to me, was that of the demon-lover. In “Dracula,” the book by Bram Stoker, the vampire is coming to England, seemingly, for world domination. Lucy and Mina are just convenient throats that happen to be around. But in this “Nosferatu,” he’s coming for Ellen. This love triangle that is similar to “Wuthering Heights,” the novel, was more compelling to me than any political themes.” (x)

“Cinematic vampires have lost their power and what makes them frightening,” says Eggers, who “went back to the folklore to understand the time when people believed vampires existed and were truly terrified of them” (x)

“So it was clear to me that I needed to return to the source, to the early folkloric vampire, to written accounts about or by people who believed that vampires existed – and who were terrified of them. Most of these early accounts come from Balkan and Slavic regions. Many are from Romania, where Stoker’s Dracula resides.” (x)

"I never think of things in a contemporary context," director Robert Eggers says […] "I try to stay in the worldview of the characters.” (x)

“A [willing] sacrifice”

“there is a sacrifice” (x)

“she's [Ellen] doing a good deed and she's breaking the curse” (x)

“When reading the script early on, Skarsgård wrote a note down that the finale was “death and ecstasy,” he says. In his last moments, Orlok is “seeing the sun for the first time in hundreds of years. So he's mesmerized by it and fear and all of these different things. “And in a way, maybe that is what Orlok wanted all along.” (x)

Ellen doesn’t sacrifice herself to save Thomas and this theory is debunked by the film itself

"A black enchanter he [Orlok] was in life. Şolomanari." "Our Nosferatu is of an especial malignancy. He is an arch-enchanter, Şolomonari."

Robert Eggers using camerawork to show the audience who’s the “them” in the breaking of the curse, whose instructions are in the Şolomonari codex of secrets (a book, which according to Romanian folklore, was written by Orlok himself):

“And so the maiden fair [Ellen] did offer up her love unto the beast [Orlok] and with him lay in close embrace until first cockcrow, her willing sacrifice thus broke the curse and freed them [both] from the plague of Nosferatu.”

Mutual healing theme: Orlok drains Ellen of her excessive blood ("too much blood"), balancing her “sanguine temperament” and ending her “hysteria” and “melancholy” (he also gives her an orgasm, a nod to hysteria as repressed and frustrated female sexuality); and Ellen’s love and willing sacrifice sets Orlok’s spirit free from the rotten vessel it was trapped in; as they are reunited in the spiritual realm, as their covenant intends, now fully healed.

“Vengeance”

“[Ellen is a] victim to 19th-century society […] she can see into another realm, and has a certain kind of understanding that she doesn’t have the language for,” Eggers said. “But people are calling her melancholic and hysteric and all of these things.” (x)

Ellen: "Why do you hate me? You have never liked me. Never. Listen to me, please!" Friedrich Harding: "I have done everything in my power to be kind to you for these long months. Find …" Ellen: "Tied me up?" Friedrich Harding: "Find the dignity to display the respect to your caretaker." Ellen: "How can you be so stupid and cruel?" Friedrich Harding: "Hartmann will call you a coach, at my expense – of course. And for your husband’s sake, I pray you might learn to conduct yourself with more deference."

Thomas: "Never speak these things aloud. Never. It is a trifle. A foolish dream, just as your past fancies."

Anna Harding: "Perhaps Professor Franz was wrong. Perhaps it was only your wish to see Thomas safely returned, and your… your..." Ellen: "My melancholy? Thomas has seen something awful. If only I could speak to the professor-" Anna Harding: "Hush. His thoughts are so queer, so sordid, I dare not repeat them! [...] Leni, please. For the sake of the children – Christmastide is upon us. Why must you remain so exasperatingly contrary?"

Friedrich Harding: "Jesus Christ in heaven! This isn’t a Satanic magician, or any other humiliating fantasy. It’s no wonder you’re a laughing stock. Out! Frau Hutter is mad and should have been locked up long ago." Friedrich Harding: "Take that blackguard from this place! Your diseasèd mind has brought all of this outrage - Your very presence does me wrong!"

“She [Ellen] has this understanding of this other world, and this other way of thinking that she doesn’t have language for, so she’s isolated. But the pull to it is very strong, and so people consider her melancholic and hysterical, and we can see her fighting within herself. I think having it stem from the realities of a woman who’s a victim of 19th-century society is something that makes it hopefully work.” (x)

“Thomas thinks he's the hero but really his wife, who everyone is calling crazy and telling to shut up and tying to beds, is the only one who can solve the problem," Eggers says. "That's much more interesting.” (x)

"My entire life I have no ill but heed my nature.”

“One example of costume design serving the plot, as you mentioned, is Ellen’s corset. I came across a particular style called a fan-laced corset during my research, which I’ve also referred to as a “self-tying corset”—though it doesn’t actually tie itself! This type of corset can be tightened from the front, allowing the wearer to adjust it independently.For Robert, this design was ideal. When Ellen is in the throes of her supernatural connection with Orlok, the men around her—Sievers and Harding—try to impose control by tightening her corset. Because of the fan-laced design, we can see her anguish and convulsions, as well as the men’s oppressive actions, without needing to obscure her face or body by laying her prone. This moment is a perfect example of how research and storytelling can come together harmoniously in costume to enhance a scene." (x)

“Depp sees Ellen as a woman experiencing “a real loneliness as well as a nascent sexuality.” […] We’re talking about a time period where there was a lot less room for women and girls to be much of anything except for exactly what people wanted them to be. So, I think you feel that in Ellen, and you feel like the birth of all these new feelings, and she doesn’t really have anybody to talk to about it, or anybody to understand her … I think it’s a real source of shame for her, and one that she’s trying to come to terms with, and that’s what I think is so beautiful about her relationship with Von Franz, Willem’s character, because he sees her in this way and understands her, I think, in a way that she longs to be understood.” (x)

“Her [Ellen] true nature [takes over] in the end. She liberates herself by ripping herself open, ripping her striped dress open. She liberates herself by wearing the same garment over and over and over again when she's staying at Harding's home. So she's liberated herself in that she doesn't feel the need to dress up completely each and every day. And then she liberates herself completely in the end.” (x)

“What's so beautiful about the place that my character [Ellen] ends up is that it's tragic, and it is empowering. There's so much power in the choice that she makes.” (x)

Thomas: "I shall send for Doctor Sievers." Ellen: "No! No!! Please. I’ll be good, I’ll be good. You could never please me as he could."

“But isn’t it interesting that this female archetype who understands the dark side of humanity and is sexualized keeps being reconstituted as the savior of Victorian culture?”(x)

“Particularly in the 1980s, there was a lot of literary criticism talking about all these Victorian male authors who created these female heroines who have sexual desire and sexual energy, and then need to be killed and punished for that,” Eggers says. “It’s this misogynist thing. But I think a lot of female literary critics who I was also reading were saying, “But isn’t it also interesting that, from this repressed cultural period, there’s the idea of this dark, chthonic female heroine who would be the person who could understand the depths?” (x)

“she’s [Ellen] as much a victim of 19th-century society as she is a victim of the vampire. People talk a lot about Lily-Rose Depp’s character’s sexual desire, which is a massive part of the character, of what she experiences — being shut down, and corseted up, and tied to the bed, and quieted with ether. Misunderstood, misdiagnosed. But it’s more than that. She has an innate understanding about the shadow side of the world that we live in that she doesn’t have language for. This gift and power that she has isn’t in an environment where it’s being cultivated, to put it mildly. It’s pretty tragic. Then she makes the ultimate sacrifice, and she’s able to reclaim this power through death.” (x)

“There’s a lot of literary criticism about Victorian male authors who have strong female characters with chthonic energy and understanding, who are then punished unconsciously by the male authors by making them die. While there’s certainly validity in that [critique], I’ve also read feminist literary criticism that says how it’s interesting that in this very repressed Victorian society, over and over again, this archetype that was needing to consummate itself in the patriarchal imagination is a woman who understands the darkness and the sexuality and the earth juju, and should be the savior of the culture.” (x)

"Enchantress." "You are not of human kind." "I am but an able tourist in this occult world, you were born to it. It is a rare gift." "In heathen times you might have been a great priestess of Isis. Yet, in this strange and modern world your purpose is of greater worth. You are our salvation."

Ellen’s Vengeance: Vengeance (verb) and "revenge" (noun) are different things. "Vengeance" is "to avenge" (not "take revenge"), it's the achievement of justice (not personal retaliation), after being wronged by others. Both Ellen and Professor Von Franz are avenged by Ellen’s breaking of the Nosferatu curse because they are proven right when Victorian society says they are wrong. Ellen is avenged (or vindicated) because she has been medicalized, drugged and tied-up because of her mediumship (diagnosed as “melancholy” and “hysteria” by Victorian doctors), but it’s her empowerment through free sexuality (sex) and spirituality (death) that saves the day, and proves Victorian society wrong. She breaks the curse and frees them (herself and Orlok), and everyone else, from Nosferatu plague.

“Sacred wedding in a union sense”

“It was always clear to me that Nosferatu is a demon lover story.” (x)

“Skarsgård says. “Nosferatu” is “a very heightened fairy tale/dark story, but also it's two people potentially falling in love. It isn't love, it's something else, but love is maybe the closest thing to it that you can kind of relate to. If it's not love, it's a craving and it's an appetite and it's lust and desire to devour.” (x)

“It was clear to me from the beginning, and from what Rob [Eggers] was saying to me, it’s a love story with Count Orlok as much as it is with her husband. There’s a real love triangle there […] She carries so much darkness within her, and that he, in a way, is a manifestation of that darkness. And so she’s pulled towards him for a reason. and she calls out to him […] there’s a mutual yearning there.” (x)

“he’s [Orlok] the only person who can understand and fulfill a part of Ellen.” (x)

“this demon lover that attracts her, and she doesn’t know why, but somewhere there is a deep understanding there and a deep attraction.” (x)

“She's [Ellen] an outsider. She has this understanding about the shadow side of life that is very deep, but she doesn't have language for that. She's totally misunderstood and no one can see her [...] this demon lover, this vampire, who is the one being who can connect with that side of her." (x)

“Ellen’s husband loves her, but he can’t understand these ‘hysteric’ and ‘melancholic’ feelings she’s experiencing, and he’s dismissive of her. The only person she really finds a connection with is this monster, and that love triangle is so compelling to me, partially because of how tragic it is.” (x)

“[Orlok] represents a sort of forbidden desire for Ellen […] Eggers, for his part, was eager to bring out the sexual subtext of Nosferatu, calling his version a clear “demon lover story” and likening it to Wuthering Heights (which he reread while trying to crack the script) […] the only ‘person’ that she can kind of connect with is this demonic force, this vampire, this demon lover. [And] Orlok is also alone.” (x)

“Yes, it is a scary horror movie with a lot of dread and even some jump scares. But more than that, it is a tale of love and obsession and a Gothic romance.” (x)

“when Ellen and Orlok come together in the end, she's wearing a complicated multi-layered wedding outfit and all of the foundational pieces. And Orlok is wearing a number of garments. When we see them come together, that silhouette of the bride and the groom is very important. And so I go through the script with all of the other elements of prep and address those things.” (x)

“That final scene, is a different paint job. It's a little more sedate and not as visceral as the first time he comes out of the coffin. That was just to give it some sort of sense that there's some kind of twisted romance going on here, in a way. It wasn't just grossing everyone out. It's quite delicate. The beats that Robert's looking for, he's very good at pacing those things.” (x)

“The way they died in the play I did as a kid was very similar to what we ended up doing in the film. But I thought that what I had done in the play was wrong, and so I was trying to do something else. And then when we kept rehearsing with Marie-Gabrielle, and I realised that my instincts when I was 17 were actually spot on, it was much more about Orlok and Ellen’s relationship.” (x)

“Completion of some kind of destiny”

“I sent [Bill] a backstory of Orlok that I wrote. So we came to it together to achieve what I was after. Because I’m so tired of the heroic and sad vampires, I was just like, ‘He’s a demon. He’s so evil.’ Bill was like, ‘Yeah, but there needs to be some times where he has some kind of vulnerability.’ It’s very subtle, and it’s not there often, but it is enough. I think the ending of the movie is much more effective than it would have been without Bill’s acute sensitivity to that – while still delivering on this big, scary, masculine vampire”. (x)

“And while Bill was also doing what I was asking for, he brought more to the table too, particularly with binding moments where Orlok was vulnerable. I was so sick of the tropes of the sad vampire that I didn't want to go there. But Bill knew that it was important to still have the vulnerability in some places. And I think it makes the performance.” (x)

“Ellen’s most prominent evening dress is indigo with lilacs embroidered and beaded on the front and on the sleeves. This lavender hue subliminally underscores the connection between Ellen and Orlok, who remembers lilacs from when he was alive.” (x)

“What kind of trauma, pain and violence is so great that even death cannot stop it?” (x)

"Sated" from the Old English verb (late 16th century) "sit"; "rest" or "lie". "I cannot rest without you"; can't find peace in death without her soul by his side

“You wonder what is the dark trauma that doesn't die when someone dies. […] [So you suspect something terrible happened between them in real life and that this story was a way of grappling with that?] That's my hypothesis.” (x)