Ok so i recently watched nosferatu and i found it to be amazing. It's a gothic tale. Set design is impressive, cinematography and music is fire, good acting performance butt I'm not so intrigued by the plot. Maybe there is something I'm not understanding . So ellen called out nosferatu because she was lonely? And that was before she met thomas?

Was it about her sexual desire? So nosferatu was awake after that call maybe because she has some psychic abilities?

Then she marries Thomas and forget about nosferatu and before she married thomas she used to have sex with nosferatu?

What did orlock want? Why was he drawn to her and why he needed her consent?

How did she have that psychic tendencies? Why did orlock say she is not of human kind?

So she's the one who called out the nosferatu because of her sexual desire? when she was a child she was lonely. So was it her consent or was it coercion? Because she told thomas he could never satisfy her like orlock could. I'm confused about this. She called him and he was awoken. Then she marries Thomas and forgets about him but she still enjoys the dream with orlock? So I don't get if she was raped and it was coercion or she wanted it and it was consent because the story shows it's both

What is the meaning of this movie?

Saw Nosferatu yesterday and I'm still floored by how amazing it was. The cinematography, editing, harrowing music, compelling acting, and captivating story were exceptional. Most strikingly, I found the film to be a powerful allegory for female oppression and the violence women face in society. There are numerous examples throughout the movie that illustrate this: Orlok deceiving Thomas into signing over Ellen as if she were property; Ellen’s lack of freedom and agency at the hands of men; her sexuality being treated as a malady that must be subdued through ether or physical confinement (such as being tied to her bed or constrained by a corset); and Friedrich’s disgust with Ellen, rooted in her perceived impurity and defiance of societal norms.

Throughout the film, Ellen is portrayed as manic and melancholic, reflecting her struggle to fit into a society that condemns her expressions of womanhood. Her experiences are imbued with a sense of sexuality that contrasts sharply with Anna Harding’s character—a virtuous woman who conforms to societal expectations by marrying and bearing children. These two characters appear to symbolize opposing views of women: Anna represents conformity to gender norms and the approval that comes with it, while Ellen embodies sexual liberation and the judgment it incurs. Considering that Anna and Ellen are the only two recurring female characters throughout the film, aside from the young twins, it seems likely that Eggers intended to offer the audience two archetypes of how women are often viewed in society: either as sexual objects or as mothers.

Count Orlok and Friedrich Harding’s characters highlight how men in society perceive and treat women. Friedrich, portrayed as a loving husband, adores Anna for adhering to traditional roles. Her life revolves around motherhood and pleasing her husband, a dynamic Friedrich clearly approves of, as he repeatedly mentions his desire for her and boasts about their growing family. In contrast, Friedrich’s view of Ellen—a woman whose sexuality defies societal expectations—is marked by contempt and hostility. His eventual ire and malice toward Ellen reflect deep-seated misogyny, as women are expected to be virtuous, sexually appealing yet restrained, and solely devoted to childbearing within marriage. Friedrich’s hostility toward Ellen intensifies as he perceives her as a threat to his idyllic family life. Nevertheless, despite Anna’s conformity to female gender roles, she too falls victim to violence, illustrating that even adherence to societal expectations does not protect women. Friedrich’s final violation of Anna, even in death, underscores the inescapable nature of male violence.

In contrast, Orlok’s desire for Ellen is primal and predatory. His pursuit of her is purely sexual, and he is willing to kill to satisfy his lust. Orlok’s obsession leads to not only the deaths of Anna, her children, and Ellen, but his insatiable lust for Ellen brought also brought a literal plague upon an entire German city. His unrelenting objectification of Ellen stands in stark opposition to Friedrich and Anna’s relation. And, while Ellen is married and yearns for a life and marriage that is normal, her sexuality and allure drive Orlok into a frenzy that cannot be satiated. Orlok’s lust for Ellen represents the male objectification of women and the violence wrought onto them as a result.

I find it interesting, and definitely not a coincidence, that Orlok’s lust and desire were his ruin (as well as Ellen’s), and Friedrich’s desire for his wife led to his ruin, as he contracted the plague from her. Orlok’s animalistic violence towards Ellen resulted in his eventual demise, and Friedrich’s necrophilia was the final form of violence levied against Anna. My thought is that Friedrich and Orlok are foils to one another.

We can also examine Thomas’ actions toward his wife and how he invalidates her desires, treating them as mere burdens. At the beginning of the film, Ellen pleads with him to stay just one minute longer before he leaves for the day, yearning for more physical and emotional intimacy. Thomas, however, shows no interest; his priority lies elsewhere. He leaves his wife—who clearly craves a deeper connection—so he can toil for a crusty employer who has struck a deal with the devil. While Ellen appears to love her husband and genuinely wishes to be with him, one could argue that something at the film’s outset has already pushed Thomas away from her. Despite being a married woman, Ellen finds no joy or fulfillment; her existence seems to revolve solely around her husband. Thomas’ fixation on work and external matters leaves Ellen in emotional isolation. Though she fulfills the role of a loving, devoted wife, Ellen cannot escape the dark cloud overshadowing her life.

It’s not until an eccentric and unconventional scientist, doctor, and occultist enters Ellen’s life that she gains a semblance of agency and power. Prof. Albin Eberhart von Franz, a man cast out of the scientific community, views Ellen with kinder eyes, recognizing her as a person of worth rather than an extension of her husband. Their interactions suggest a bond akin to kindred spirits. At one point, von Franz tells Ellen, 'In heathen times, you might have been a great priestess of Isis. Yet in this strange and modern world, your purpose is of greater worth. You are our salvation.' Isis, the Egyptian goddess of protection, motherhood, and magic, symbolizes fertility and power. Von Franz’s perspective sharply contrasts with the other men in the film, emboldening Ellen to embrace her unique strength and use it against Orlok.

While Orlok initially tricked Thomas into signing Ellen away like property, the monstrous count required her willing consent to consummate their unholy union—consent she refused to give. By the film's end, Ellen is no longer defined by her husband's house or wishes. Instead, she discovers the agency that had eluded her throughout the story, ultimately becoming the key to Orlok’s undoing.

It’s also significant that von Franz—a man ostracized from the scientific community and someone who defies societal dictates on how to live and operate—is the only man in the film who admires Ellen without sexual or romantic desire, as a mere extension of her husband, or as a nuisance. He truly sees her as a person, unlike the other men in the story, who view her more as an object.

I’m sure there are details I’ve missed or forgotten. I plan to see Nosferatu again and take note of additional examples that support my interpretation. Even if my perspective is off base, Eggers has masterfully crafted a film that invites endless interpretation, allowing each viewer to find their own meaning. Nosferatu is art at its finest.

TLDR: Nosferatu is an allegory for societal violence against women.