forewilt

[forewilt]

"in heathen times, you might have been a great priestess of isis."

chills, literal chills and tears.

this line and scene really top the movie for me.

bc in its essence, the movie is about ellen and her great desire that is repressed by the patriarchal society. orlok manifests as this desire of ellen's and appears the way the society views it. is it a sexual desire? yes, but it is also much more than that. it's the desire to fulfill her authentic potential and truth, it's the desire for freedom to explore the great unknown, it's the desire to embrace her power and to die, metaphorically rejecting the society and the false self it forces onto her, in order to be reborn as the one she is destined to be.

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Guess who has two thumbs and finished their semester!!

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I cannot be sated without you

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okay thank you all for hanging tight during the radio silence !! i am done with classes on the 28th this month so i am trying to get things in before the cut off & then i will be free to write more ellen with thee ! that includes diving into those who liked my starter call & answering DMs ! thanks again guys & brb !

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✨i'm doing my best ✨

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Thomas, my dear, if you want in on the threesome just ask -- @foreplagued @foreb0de

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NOSFERATU (2024)

dir. robert eggers

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rambles about ellen and orlok. a lot taken from conversations with @forewilt & @foreplagued

‎ ‎ ‎ ‎ ‎‎ ‎ ‎ ‎ ‎this entire concept has been consuming my thoughts because it is so rich in depth and meaning. what fascinates me most is the immense power that ellen holds—she is not merely a passive figure in orlok’s story, but rather the force that bridges worlds. she is an old soul, one that has been reincarnated countless times, never truly belonging to the era she is born into. there is something inherently haunting about that, about the way her very existence feels displaced, as though she is reaching for something beyond the confines of time itself. and it is her suffering, her torment, that ultimately awakens him from death.

i am fully committed to the idea that ellen is the reincarnation of a past lover or something akin to—someone whose presence lingers through every one of her lives, an unshaken memory that echoes across centuries. she is aware of it, whether consciously or not. an old soul trapped in a new body, unable to sit idly in this era. she is suffering, and it is that suffering that calls out to him. she is so powerful that her anguish alone was enough to summon him from death itself.

but what is crucial to understand is that ellen is not a victim of fate. she is aware of what she is doing. she is in control. her fear does not come from orlok himself or from the supernatural forces at play—it comes from the pressures of the era she exists in, from the societal expectations that weigh upon her, from the internal conflict between who she is expected to be and what she knows she is. there is a war between her mind and her soul. the mind, shaped by the world around her, resists. it tells her she should fear him, that she should not be drawn to this darkness, that she should not embrace it. and yet, her soul—ancient, unshaken—remembers. it recognizes orlok. it understands the pull. it knows that what is happening is not wrong, but inevitable.

this internal struggle is essential to ellen’s story. she is not weak, nor is she helpless. if anything, she has more agency than orlok himself. she is the one who called him back. she is the one whose soul reached beyond the veil. she holds the power, even if her mind tries to deny it. and that denial, that battle within herself, makes her all the more fascinating.

orlok was cursed. he suffered in death, dragged into the darkest pits to atone for the life he had led. he was never meant to return. but ellen, in her grief and agony, called him back—her soul, so ancient, so powerful, unknowingly reached into the abyss and pulled him from it. and we see the kind of existence he led in his undead state: the insatiable thirst, the demanding and imposing nature, the pride, the greed. he remains the man he always was, driven by hunger, by possession, by need. death did not strip him of his nature—it solidified it.

this makes orlok’s damnation even more profound. he was not simply cursed by his own actions—he was rejected. zalmoxis’ afterlife was reserved for the worthy, for those who embraced wisdom and purity of spirit. orlok, in his mortal life, was the opposite of that. he sought power for himself, delved into forbidden knowledge, and twisted the natural order. as a sorcerer, one who studied at the scholomance, he had no interest in divine transcendence—he wanted control. and so, in death, he did not ascend. he did not even find peace in the void. instead, he became strigoi.

but what is he, really? there is something deeper, something far older than mere vampirism. orlok is strigoi. not a creature born of modern gothic romanticism, but of something ancient, something deeply rooted in folklore. strigoi were not simply undead—they were cursed. restless souls, revenants who could not find peace in death, either because of the wickedness they committed in life or because they were torn too soon from it. they were those who practiced dark arts, who delved into the forbidden, and in return, were denied entry into the afterlife. they are not mere predators—they are tormented. they are bound to hunger, to the need for blood, because it is the only thing that keeps them tethered to this world.

and this is what makes ellen's connection to orlok even more fascinating. the strigoi were said to be able to return due to unfinished business, or because a living soul unknowingly called them back. ellen, with her ancient, lingering power, awoke him. and not just that—she sustains him. the bond between them is not merely supernatural; it is something primal, something deeply woven into the fabric of time itself. she has always been tied to forces beyond human comprehension, living life after life as priestesses, witches, seers. her blood, her being, has always existed in the space between divinity and the occult.

perhaps, in a past life, she was the one who cursed him. perhaps she was the one who tried to stop him, and in his selfishness, in his arrogance, he refused to let go. perhaps it was his greed, his unwillingness to lose her, that damned him to this existence. and now, here she is, in a new body, in a new time, and her soul still calls to him.

this is not merely a tale of reincarnation. this is tragedy. this is horror. this is a force beyond love or fate—this is raw mythology, something clawing through the fabric of time itself.

[forewilt]

Nosferatu (2024)

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ellen is about to start charging fees for this twink trafficking going on in the carpathians with her husband !!!!

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ellen using her leashed dog (thomas) to go get her unleashed dog back (orlok) :)

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I NEED THE INTERNET TAKEN AWAY FROM ME I CAN'T SUBJECT MY DASH TO THIS LEVEL OF FREAK ON A TUESDAY NIGHT

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#im comin#!!!!

impregnatr0n, hear my call . . . come to me . . .

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impregnatr0n, hear my call . . . come to me . . .

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I keep seeing all these "are you my type" bingo cards but like tbh???? Thomas's would be so

@forewilt

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"And thought you I would not return? Thought you I would not?" — NOSFERATU (2024), dir. Robert Eggers

[forewilt]

girls who are doomed by the narrative!! girls who have been dead since the beginning. girls who are dragged into death not kicking and screaming but clinging on to the brink until their fingers ache with the weight of the years they’ve stolen. girls who’s every last words are already etched on the stone of an open and waiting grave.