Robert Eggers’ Werwulf Unleashes a Haunting First Trailer
Robert Eggers has already terrified audiences with witches, mermaids, Vikings and vampires. This Christmas, he’s turning his attention to one of horror’s oldest monsters, and if the newly released trailer is anything to go by, Werwulf could be his bleakest nightmare yet.
The first trailer for Werwulf has finally arrived, offering audiences their first proper look at Eggers’ long-awaited medieval horror film ahead of its theatrical release on December 25. As expected, the footage is dripping with atmosphere, historical authenticity and the kind of creeping dread that has become the director’s trademark.
Set in 13th-century England, Werwulf follows a mysterious beast stalking the countryside as local folklore becomes horrifying reality. Rather than presenting werewolves as Hollywood action monsters, the trailer suggests Eggers is once again embracing ancient superstition and historical myth, grounding the legendary creature within a world that feels authentic, brutal and deeply unsettling.
Aaron Taylor-Johnson leads the cast, undergoing what promises to be a savage transformation. The actor, who also appeared in Eggers’ critically acclaimed Nosferatu, reportedly spent time observing a real wolf to study its movements and behaviour in preparation for the role. Judging by the trailer, that dedication certainly appears to have paid off.
Speaking recently about the production, Eggers revealed that Werwulf has one of the most distinctive visual styles of his career. The film was shot on 35mm film before undergoing an unusual orthochromatic treatment in post-production, giving skin tones a sickly, almost diseased appearance. The filmmakers also incorporated the grain structure of classic black-and-white film into the colour photography, creating an image unlike anything audiences have seen before.
The result is immediately apparent throughout the trailer. Every frame feels weathered, ancient and oppressive, perfectly complementing the harsh medieval landscape and the film’s overwhelming sense of unease.
Eggers has also teased that Werwulf represents the darkest screenplay he has ever written, boldly stating, “It’s the darkest thing I’ve ever written. By far.”
Coming from the filmmaker behind The Witch, The Lighthouse, The Northman and last year’s acclaimed Nosferatu, that is certainly saying something.
Since bursting onto the horror scene with The Witch in 2015, Eggers has established himself as one of modern cinema’s most distinctive voices. His films are instantly recognisable, blending painstaking historical research with slow-burning psychological horror and unforgettable imagery. Whether exploring Puritan paranoia in The Witch, spiralling madness inside the isolated lighthouse of The Lighthouse, Viking revenge in The Northman or breathing terrifying new life into Nosferatu, Eggers has consistently refused to compromise his artistic vision.
That commitment to authenticity has become one of his defining strengths. His productions are meticulously researched, from language and costume design to architecture and folklore, allowing audiences to feel completely immersed in worlds that are both historically convincing and deeply unsettling.
Werwulf looks set to continue that tradition.
The film also reunites Eggers with several familiar collaborators. Lily-Rose Depp returns after her acclaimed performance in Nosferatu, alongside Willem Dafoe, who previously appeared in both The Lighthouse and Nosferatu. Ralph Ineson, whose unforgettable turn as the father in The Witch helped launch Eggers’ career, also joins the cast, while Bodhi Rae Breathnach rounds out the principal ensemble.
Behind the camera, production designer Craig Lathrop reunites with Eggers once again, having worked on every one of the director’s feature films. That long-running creative partnership has helped define the unmistakable visual identity that fans have come to expect.
Werewolf films have enjoyed something of a resurgence in recent years, but few have generated as much anticipation as Werwulf. With Eggers behind the camera, audiences are unlikely to receive a conventional creature feature. Instead, the trailer promises an uncompromising descent into medieval terror, folklore and psychological horror, all wrapped inside one of the year’s most visually striking productions.
The wait won’t be much longer.
Werwulf claws its way into cinemas on December 25, and after watching the trailer, this is already shaping up to be one of the horror events of the year.
