ulrich gregor and enno patalas evaluate "nosferatu" as a quantum leap in murnau's cinematic work for being "visible for the first time in any setting." thomas elsaesser says the appeal of the film from the conflict between technical perfection and its mainly psychological acting subject: "murnau's poetry, the result was a detached, almost clinical application of technical mastery german photography and camera work in an emotionally charged, with deep-seated fears and feelings related topics". the dream-like, the subconscious appealing presentation give the film a "shadow only decipherable, hidden logic", they keep the film "still strong appeal character," says thomas koebner. also kreimeier klaus picks up on this film "nosferatu" effect and certify an "authenticity of the dream - and the fictional (the means based on conventions) character of what we call reality."