Nosferatu the Vampyre 4K 1979 Ultra HD 2160p

Story Movie

Real estate agent Jonathan Harker is sent to Transylvania to the castle of Count Dracula, who has expressed a desire to purchase a mansion in Germany. Upon arrival at the count's castle, Harker signs all the necessary papers, but accidentally drops a locket with a photograph of his young wife Lucy.

Review 4K Movie

A ghostly castle that looks more like a crypt. What kind of person could live here? Is it the wind and wolves howling in the vicinity, or restless souls lamenting their loneliness? Is the lord of the castle, Count Dracula, a mad recluse, a bloodthirsty monster, or a tormented creature seeking love? His eyes reveal a mixture of madness and longing, while his smooth movements betray the strength and fury of a predator. He is both terrifying and pitiful, hunter and prey. He is death, but death can also be lonely...

In remaking Murnau's silent black-and-white film, Werner Herzog does not allow himself any particular liberties, treating the classic with great care. But still, as a true creator, he finds himself in this story, revealing himself in amazing landscapes, in the incredible performance of Klaus Kinski, in the creation of an emphatically uncomfortable, depressing atmosphere that turns the vampire story into a real dance of death. His Nosferatu is not a scary fairy tale that children use to frighten each other in dark bedrooms. It is a gloomy and hopeless story, a feast during the plague, madness and complete despair.

The heroic vampire hunter, Dr. Van Helsing, is here an old fool who cannot see beyond his own nose. And Count Dracula is the Lord of Rats, the Horseman of the Apocalypse, followed closely by the plague. He is an inevitable evil, and there is nothing human left in him. Loneliness has devastated his soul and embittered him. Dracula's desire to possess Lucy is selfish and destructive because he does not know what love is. There is nothing but death around him. It is all the more surprising that the obstacle in this monster's path is a sickly maiden who seems to have stepped out of the pages of a romance novel. With her broken gestures, fainting spells, and tragic poses, Isabelle Adjani looks a little out of place against the backdrop of Bruno Ganz's sparing emotions and Kinski's madness. But perhaps it is precisely her otherness, her naive romanticism in the gloomy atmosphere of a plague-stricken city, that became the necessary sacrifice that must be made in order to try to atone for evil.

The director has made a frankly oppressive film, permeated with discomfort and decay. In the very first shot, the camera slowly glides over the mummified remains of people, allowing us to see every detail of the gruesome, half-decayed bodies. Then Dracula's castle appears like a dark obsession, a chimerical illusion that exists more in the imagination of the victim than in reality. A ship with scarlet sails glides smoothly along... but Assol would hardly be pleased to see it, for its only passengers are rats and corpses. Endless mourning in a city ravaged by the plague, coffins multiplying exponentially, and funeral processions finding it increasingly difficult to pass each other in the narrow streets. And finally, a feast, a terrible feast of the doomed, who drink and dance in the main square, awaiting their final hour. There is no hope, evil is invincible, and Dracula's demise will change nothing, because the plague is already spreading across Europe, and the new Horseman of the Apocalypse on his black horse is coming to sow death and destruction.