Personally, I think a masterpiece can be made in any genre of film, even those that are traditionally known for camp. However, some genres are more difficult than others, a sentiment that I definitely think applies to horror.

Some have called Robert Eggers’ “Nosferatu” remake a masterpiece. Is it warranted? How good is it?

The film generally follows the same plot as the 1922 German silent film of the same name, which was an unauthorized adaptation of Bram Stoker’s “Dracula.” As such, it copies the broad strokes of both, but drastically diverges in terms of its execution via its presentation and finer details.

We follow Thomas and Ellen Hutter (Nicholas Hoult and Lily-Rose Depp), who are newlyweds in 1930s Germany. Thomas, hoping to secure a high paying position in a wealthy firm, agrees to go on a journey to Transylvania to sell an old house to an eccentric and reclusive elderly noble named Count Orlok (Bill Skargard). Ellen is plagued by visions of her marrying Death and begs Thomas not to go, fearing that it will lead to the worst — concerns Thomas brushes aside.

Ellen suffers from visions and seizures throughout the film due to a psychic link with Orlok, who develops an obsession with her. Orlok has a towering presence that completely overwhelms everyone he meets. Initially, he wields his status to force himself upon Thomas and take whatever he wants of him — a clever move by Eggers, as vampires have always been an allegory for the rich and powerful. But beyond that, Orlok of course has supernatural powers whose limits are not known.

In fact, Orlok at times appears to be all powerful. Shortly after buying the house from Thomas, he arrives into the city with a scourge of rats that bring a plague that overwhelms it. Orlok is a force of pure evil; he cannot be reasoned or bargained with. He cares about nothing, other than consuming and crushing everything and anyone in his path.

He’s also little more than a reanimated corpse, with maggots eating away at his rotting flesh. He’s not a stereotypical vampire; everything about him plainly points out that his resurrection has come at a great cost and is an infliction upon nature. In fact, several people go insane and fall ill just by being in his presence.

The film’s 1.66:1 aspect ratio does a great job at making you feel trapped and claustrophobic; it’s an intentional choice that, paired with Jarin Blaschke’s creative cinematography, puts the viewer at great unease. Eggers also masterfully crafts atmosphere in every frame; we know that Orlok is dangerous long before he actually kills anyone.

Eggers also uses the plague to great effect. Nobody knows where it’s coming from, other than the rats, or how to cure it. Once Thomas leaves for Transylvania, Ellen’s episodes get worse and worse, prompting the friend she is staying with, Friedich Harding (Aaron Taylor-Johnson), to tie her up and hire a doctor, Wilhelm Sievers (Ralph Ineson), to help her. However, Sievers quickly learns he is no match, and enlists the help of his mentor, professor Albin Eberhart Von Franz (Willem Dafoe), who is an expert in mysticism and the occult.

One key element of horror is fear of the unknown, and “Nosferatu” has plenty of it. Sievers and Franz serve as the only guiding lights we have out of the hysteria of the plague and Orlok.

However, both doctors are also woefully ill-equipped. We see both perform quack science because they live in a world where germ theory is still 30 years away. Yet their evidence-based approaches still garner some results, though lack of information does largely fuel the film’s tragic ending.

This film has it all: an all-star cast, ironclad direction, a skilled cinematographer and an excellent script that builds upon and elevates its source material.

The most remarkable thing Eggers accomplishes, in my view, is how he effortlessly creates a consistent, wonderful unease throughout the film that eventually boils into hysteria, and later rage and melancholy. There seems to be no limit to how much Orlok will take, and there is a heavy price to banish him.

Depp has a standout performance that eclipses everyone else. She dances from one extreme to the next and effectively personifies the human impact of Orlok’s evil; she suffers because of him throughout the picture.

“Nosferatu” is one of the best films I’ve seen all year and is more than worthy of Oscar consideration, especially for its direction, cinematography and Depp’s captivating achievements on screen.

“Nosferatu” gets a 9.5/10