Frustrations with Nosferatu’s Outdated Perspective on Female Sexuality

Dave Eggers’ reimagining of the classic film Nosferatu dives deep into themes of sexuality, particularly focusing on female sexuality. This adaptation builds upon the original 1922 narrative by infusing a provocative sexual history between Count Orlok (played by Bill Skarsgård) and Ellen Hutter (portrayed by Lily-Rose Depp).

Spoilers ahead for Nosferatu.

The film aims to present a bold exploration of female sexuality, intending for viewers to perceive Ellen as empowered. However, as the story unfolds, the depiction of Ellen challenges this notion. Rather than critiquing historical societal norms regarding female sexuality, the film inadvertently punishes her, reinforcing outdated attitudes instead.

Content warning: this article contains mentions of sexual assault and rape.

Examining Female Sexuality in Nosferatu

An image from the poster of Robert Eggers' Nosferatu — (Focus Features)

From the outset, Nosferatu touches on themes of female sexuality. A significant scene reveals the teenage Ellen, plagued by loneliness and desire, inadvertently summons Count Orlok, initiating a sexual encounter that swiftly devolves into non-consensuality. This dark twist raises alarming questions about the treatment of female desire.

Following this traumatic experience, Ellen faces profound distress. Regrettably, much like many real-life victims, she is met with disbelief and blame. Yet, Ellen’s sexual desire persists, manifesting strongly against the backdrop of 1838 societal views on women.

The repression of female sexuality in 19th-century Christian and European societies was profound. Women expressing robust sexual appetite were often labeled as afflicted with conditions like “nymphomania” or “hysteria,” viewed as signs of weakness. Melissa Rampelli from Psychology Today notes that those succumbing to such portrayals could find their physical and mental health ravaged, with marriage often touted as the so-called cure.

Nosferatu acknowledges this unfortunate historical context; however, it fails to deliver a strong critique. When Count Orlok returns to Ellen, she starts exhibiting symptoms akin to “nymphomania.” While the film could have delivered an impactful message about the dangers of repressing sexuality, mere acknowledgment without condemnation leaves the audience in a troubling space. To simply declare consent does not equal empowerment.

Analyzing the True Message of Nosferatu

Ellen being haunted by a vampire in Nosferatu — (Focus Features)

Ellen consistently refers to her initial encounter with Count Orlok as a source of shame. The film suggests her path to redemption lies in rekindling that connection, compelling her to once again be intimate with him until dawn, effectively sacrificing herself.

Willem Dafoe’s character, the Professor, pressures her into this sacrificial act, asserting that only she has the power to vanquish the unleashed evil—the vampire she has called forth through her own desire. His characterization of Ellen’s longing as “evil” further complicates her journey.

It is absurdly reductive to imply that Ellen’s teenage sexual curiosity was potent enough to conjure a monster. The film partially touches on the isolating effects of sexual repression on women, but ultimately continues to punish Ellen despite acknowledging her struggle. The balance between awareness and punishment is precariously handled.

As Richard Brody from The New Yorker poignantly observes, Ellen is compelled to “refuck her rapist” to save her community. The narrative posits this as a culmination of her journey toward sexual freedom, yet conflates a coerced encounter with empowerment, which muddles the message. Brody succinctly articulates that while her character’s development may appear progressive, it ironically represents a “vampiric victory.”

The film’s interpretation of triumph is fundamentally flawed. Ellen is not only coerced into reconfronting her aggressor but is also sacrificed in the process. Despite the echoes of the tragic ending from the 1922 version, her death lacks justification related to her second encounter with Orlok. The film punishes her for her teenage sexual curiosity and her ongoing desires as an adult.

Leaving the theater, I felt a profound emptiness. While Nosferatu presents visually stunning moments, its underlying themes feel tragically hollow. A deeper examination of its message only highlights this emptiness. The film attempts to elevate its female protagonist, yet ultimately imposes an even heavier punishment on her.

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