Hi! Sorry to bother you. I dont know if this is allowed or this ask will be accepted, but can you expand on the Nosferatu inspiration in 2026 WH? I saw your post with the GIFs and I’m curious to know more. No one wants to discuss this movie because of the discourse… sorry again if this isnt allowed
If the ask is related to Robert Eggers’ “Nosferatu” (or Eggers work in general) I’ll accept it. If it’s folks pestering me with the opinions of others and random questions, I won’t. If I have a zero tolerance policy for the discourse surrounding the actual theme of my blog, I have even less for other films. I hope that’s clear.
That being said, I’m more than glad to discuss this particular topic, since it interests me and the idea there might be an actual tribute to Eggers adaptation is amazing (especially after all the vitriol this film got and still gets because reading the cast and crew interviews and digging into Eggers references and inspirations is too much trouble for online echo chambers).
Previously, I said that, in a lot of ways, Fennell made textual what Eggers made subtextual, and I stand by that opinion.
Sexual awakening and masturbation is common to both films. Ellen/Cathy experience theirs because of Orlok/Heathcliff. Ironically, in the same way, because Orlok shows up at Ellen’s window and Eggers described him as “a big, angry erection with a mustache”, and Cathy actually feels Heathcliff’s erection. Then, Ellen/Cathy masturbate in nature because of it, and in a symbolic location for both pairs: garden of lilacs/moors of Wuthering Heights. In both, Orlok/Heathcliff shows up to catch them in the act (obviously, very differently in “Nosferatu” since it’s a horror film, and Orlok is a folk vampire, and tries to kill Ellen to collect her soul). Both Ellen/Cathy are deeply ashamed and blame their action on Orlok/Heathcliff: “I was but an innocent child” and I believe Cathy calls Heathcliff “devil” while saying it was his doing.
Even then, this theme connected to both Cathy/Ellen teenage years is common to both films. I can’t say for sure it’s “inspired by” Eggers “Nosferatu”, but it’s an undeniable resemblance between both stories. Besides, Eggers had his “Nosferatu” script ready by 2015, since it was meant to be his second film. And, even though, he did make a few changed between 2016 and 2024 scripts, he said several times it’s ultimately the same story.
Eggers said several times his love triangle is inspired by the “Wuthering Heights” novel, and even though Fennell said she’s not doing a book adaptation, the parallels are not strange, and are there. Ellen/Cathy using her marriage to Hutter/Linton to deny her attraction towards Orlok/Heathcliff is a major one. Ellen having sex with Hutter thinking about Orlok is also another: “kiss my heart! My heart!” (this is not even subtle when Orlok feeds on heart’s blood).
There’s a night scene between Cathy and Heathcliff which seems an actual reference to “Nosferatu”, with the curtains and the lighting (blue-ish moonlight). The first night at the Hardings household (which is actually the first time Ellen sees Orlok); Cathy taunts Heathcliff with Linton, the same way Ellen taunts Orlok with Hutter (“no, I love Thomas”). And both Ellen/Cathy claim to hate Orlok/Heathcliff while being “devoured” by them: in Fennell’s this is literal since they are having sex. And, of course, Heathcliff wants to kill Linton, the same way Orlok wanted to kill Hutter. There’s an interpretation of the book which proposes “returned Heathcliff” might be an actual vampire, so “I’m going to suck his blood” can also be a nod to that. After this, there’s a departure between both films, because Ellen doesn’t “choose” Hutter and their marriage ends after the “I Know Him” scene, as Nicholas Hoult confirmed. Still, the end shot of Fennell’s “Wuthering Heights” is evocative of the ending of “Nosferatu”.
One week ago it would seem unthinkable for me to write what I’m about to, but I think Fennell’s “Wuthering Heights” is actually helpful to understand Eggers “Nosferatu”, especially the love triangle and sexual repression/explosion part. Of course, these are two different films which deal with other themes, as well. Ellen is a medicalized and misdiagnosed character due to her gift (Shamanic trances), while Cathy is no such thing. Ellen and Orlok’s relationship runs deeper than sexuality and also involves Balkan and Slavic folklore (strigoi lover folktale) and occult (enchanter/enchantress) plots, Fennell’s “Wuthering Heights” doesn’t have. But, for the “19th century lenses” of the story, the two films do share a lot of similarities. Eggers compared his Orlok to Heathcliff several times, but he’s Heathcliff after Cathy’s death and making it his and everyone else’s problem, by terrorizing the “second generation” (this is what many who accused Eggers of not understanding the novel fail to see).
Both films are highly symbolic, but I would say Fennell’s symbolism is more obvious and easy to understand than Eggers, which goes deep into folklore, occult and historical accuracy of 19th century views of female sexuality and medicine. Both directors are bizarrely accused of “style over substance”. Ironically, “Nosferatu” has the happiest ending of all Eggers films to date (once you dig into his references), while Fennell’s “Wuthering Heights” has a kind of break and tragic ending, since we don’t really have the same occult and folklore plots as in “Nosferatu”, where Eggers reframed everything into a Pre-Christian context of Dacian religion.
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