The film posits a disturbing premise: Ellen did not just attract Orlok’s attention by accident. As a lonely, repressed child, she reached out into the ether, crying for a companion. Orlok answered. This recontextualizes the "plague" not as a random misfortune, but as a dark romance gone wrong. Ellen is psychic, sensitive, and burdened with a "melancholy" that 1830s Wismar society dismisses as hysteria.
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Ellen must surrender to the monster to destroy him. She uses the very connection that plagued her—her "sin"—as the weapon. It is a narrative choice that gives the gothic romance a brutal, feminist edge: she is not saved by men; she saves the men by sacrificing herself.
Unlike the 1922 original, where the wife (simply credited as "Ellen") is a virtuous victim, Eggers’ script—rumored to be a scrupulous adaptation that reinserts deleted elements from the 1920s—reframes Ellen (Lily-Rose Depp) not as a passive observer, but as the catalyst.