Murnau's horror classic departs from the artifice associated with Expressionism to evoke its rather more subtle, more disturbing imagery in natural, largely exterior settings. Its sense of mystery is firmly rooted in the irreality of the real world, in coincidence rather than apparition, to use Breton's classic dichotomy. "Everything was sacrificed to poetry and nothing to art," as Robert Desnos put it. Other French Surrealists also championed the film for its evocation of the marvelous which "explodes on earth," as Ado Kyrou specified. "I don't get ecstatic about every vampire or every apparition...It's as a frantic materialist that I love the impossible." Breton and others recalled "the phrase that I could never see appear on the screen without a mixture of terror and joy: 'When Hutter was on the other side of the bridge, the phantoms came to meet him.'" "Across the bridge in Nosferatu," wrote Kyrou, "we reach the perfect expression of love and revolution." Our beautiful tinted print, made from the Munich Filmmuseum restoration by Enno Patalas, shows Murnau's thematic use of color.