Robert Eggers' Nosferatu is one of the most uncompromisingly traditional horror films made by a major director in the past decade. It takes the Gothic source material, Murnau's 1922 silent masterpiece and Bram Stoker's novel behind it, and treats it with a reverence that refuses any contemporary update to the moral architecture. Evil is absolute. Love is sacrificial. Virtue costs everything. These are not progressive values. They are ancient ones.

The film opens with a young Ellen Hutter's childhood prayer for companionship, a prayer answered by the wrong entity. Count Orlok is not a metaphor; he is evil in the most pre-modern, pre-psychological sense of the word. He does not have a backstory that explains his corruption. He is simply darkness that has learned to walk. Bill Skarsgård, unrecognizable under layers of physical transformation, creates a figure of genuine dread. He is repulsive and compelling in equal measure, exactly as the vampire tradition demands. Lily-Rose Depp, playing Ellen as a woman torn between the creature's preternatural pull and her devotion to her husband and community, delivers the most surprising performance in recent horror memory. She is not a final girl in the modern subversive sense. She is a woman doing what women have always done in the Gothic tradition: sacrificing herself to protect the people she loves.

Nicholas Hoult's Thomas Hutter makes the classic mistake of dismissing the supernatural as superstition, traveling to Transylvania to complete a real estate deal for the reclusive Count. His journey into the castle is handled with the patient, suffocating dread that Eggers does better than almost anyone working today. Thomas escapes but returns to find his city under plague siege. The community of Wisborg, where the second act unfolds, is rendered as a coherent society under siege, not a backdrop for individual grievance. This is a community worth saving, and the film treats it as such.

Willem Dafoe's Professor Von Franz is the film's most overtly traditional character. He is the scholar of the occult whose knowledge of evil is the community's only hope. He is an old man who knows things the modern rational world has forgotten. The film positions him, without irony, as a figure of genuine wisdom. His counsel is eventually heeded. His framework for understanding the crisis, that this is a metaphysical conflict between good and evil, not a medical or psychological problem, turns out to be correct. In contemporary cinema, the old man with ancient knowledge is often treated as a liability, a figure to be superseded by younger, more progressive protagonists. Not here. Von Franz is right, and following his guidance is what saves what can be saved.

Eggers does not sanitize the film's darker currents. The vampire's obsession with Ellen carries unmistakable sexual menace. The plague imagery is genuinely disturbing. Ellen's suffering is prolonged and real. But these elements serve the horror rather than a modern agenda. The film does not read the vampire as a metaphor for repressed female sexuality that deserves liberation. It reads the vampire as a predator who must be destroyed. The resolution is Ellen's voluntary self-sacrifice: she invites Orlok to feed on her until dawn, destroying him through her selfless act. This is explicitly framed as a sacrifice made out of love for her husband and community. It is not empowerment. It is devotion. The film treats these as the same thing.

Conservative viewers will find Nosferatu a genuinely rare artifact: a Hollywood film with a pre-modern moral framework that does not apologize for itself. The supernatural is real. Evil is absolute. Sacrifice is redemptive. The family and community are worth protecting at any cost. None of this requires extraction from beneath a layer of progressive messaging. It is simply the film.

Trope	Category	Location	Authenticity
Defense of the Innocent	TRAD	Throughout -- Thomas, Von Franz, and ultimately Ellen act to defend their community	Organic
The Self-Sacrificing Hero	TRAD	Final act -- Ellen sacrifices herself to destroy Count Orlok	Organic
Faith in Adversity	TRAD	Throughout -- religious and occult frameworks as the only legitimate defense against evil	Organic
The Wise Elder	TRAD	Throughout -- Von Franz as the scholar whose ancient knowledge is ultimately correct	Organic
Traditional Femininity	TRAD	Throughout -- Ellen's arc is defined by devotion to husband and community, not self-actualization	Organic
The Nuclear Family Under Siege	TRAD	Throughout -- Thomas and Ellen's marriage is the emotional stakes of the film	Organic
Absolute Evil	TRAD	Throughout -- Count Orlok is evil without redemptive arc or explanatory trauma	Organic
Restored Home	TRAD	Final act -- the community is saved through Ellen's sacrifice	Organic
Industry and Perseverance	TRAD	Throughout -- Thomas's journey and return despite supernatural terror	Natural
Infallible Youth	WOKE	Ellen's childhood contact with Orlok positions her as uniquely knowing from girlhood	Organic
Female Supernatural Authority	WOKE	Ellen's special psychic connection to Orlok positions her as the one character with unique power over the monster	Organic
The Bigoted Traditionalist	WOKE	Community's initial response to plague scapegoats the outsider rather than accepting Von Franz's supernatural explanation	Natural
Institutional Evil	WOKE	Medical establishment dismisses spiritual/supernatural diagnosis throughout	Natural