Nosferatu has the best cinematography I’ve seen in a long time – here’s why it’s a film every photographer should watch

Close-up of Ellen Hutter (Lily-Rose Depp) with blood pouring from her eyes and mouth as she stares directly into the camera .

I watched Robert Eggers and Jarin Blaschke’s latest movie Nosferatu last weekend, a remake of 1920s silent movie Nosferatu: A Symphony of Horror, which itself was an adaption of Bram Stoker’s Dracula, published barely two decades prior. And I have to say, it’s one of the most visually arresting films I’ve seen in a long time.

I’m certain you could pause the movie at any given juncture and you’d be left with a portfolio-worthy film still. In a world where moviegoers are raised on a diet of vibrant, HDR-infused Marvel flicks (which I do still enjoy), Nosferatu’s use of focus, lighting, composition, and even its unconventional (in modern cinema) 5:3 aspect ratio, is a welcome change of pace. Scenes are slow and minimalist in comparison to the dopamine-rich speed and detail of modern blockbusters.