Nosferatu the Vampyre (1979)

Eggers told Empire magazine that he has been “consciously not watching” Werner Herzog’s version of Nosferatu, though he did end up shooting at the same castle, Pernštejn Castle in the Czech Republic. It seems Eggers is avoiding this version because it’s another filmmaker’s interpretation of the original, and he doesn’t want to cloud his own vision. However, for us as the audience, it’s fascinating to watch and compare the original silent film, Eggers’ adaptation, and Herzog’s version. Herzog’s Nosferatu is highly stylized, with every frame resembling a slowly moving painting. Eschewing the shadow-drenched visuals typical of the genre, Herzog often bathes Klaus Kinski’s Count Dracula in bright light, highlighting his pale white skin and sunken eyes. Much of the terror comes not from what is hidden but from what is revealed. This approach contrasts sharply with Eggers’ darker, more somber aesthetic, offering a compelling study in how different directors can interpret the same iconic story.