A strange yet terrifying remake of the horror classic, Suspiria defies convention while providing nightmare provoking horrors of the arthouse kind, a fact that will thrill some while befuddling others.
The horror genre is beloved, yet it is not sacred. Classic after classic has been remade, with the likes of Psycho, Texas Chain Saw Massacre, and many others redone to various results. Suspiria the 1977 Gallo classic directed by genre master Dario Argento, is as revered a horror movie as they come. Yet here we are over 40 years later with a remake in cinemas. Thankfully, this is no mere cash-in. Suspiria circa 2018 effectively pays tribute to Argento’s original, while forging its own unique identity. It is, in every way, one of the better horror remakes to be released.
Directed by Luca Guadagnino (Call Me By Your Name), Suspiria is set in West Berlin, Germany, 1977, amongst the backdrop of political upheaval in the form of attempted revolution. In the centre of this chaos is the prestigious Markos Dance Academy. There aspiring dancer Susie Bannion (Dakota Johnson), an American, makes an impression upon lead choreographer Madame Blanc (Tilda Swinton), who is also a part of a coven of witches who control the academy. A powerplay within this coven brings danger upon Susie’s soul, and the suspicions of elderly psychiatrist Dr. Josef Klemperer (again, Tilda Swinton.)
At 152 minutes (complete with 6 acts and an epilogue), there is a lot to unpack here. Much like The Witch and Hereditary before it, Suspiria is wonderfully and frustratingly unique in its depiction of horror that goes well beyond the usual genre rules. As scripted by David Kajganich (A Bigger Splash), this is a film where the smallest of details can have a large impact. Guadagnino fills his screen with all matter of symbolism, odd character traits, and an incredibly strong sense of horror bubbling underneath the surface that threatens to take hold at any moment, which it does with shocking, violent intent. If horror movies are source for nightmares, Suspiria has enough fuel to terrify for nights on end.
Throughout it all is a strong sexuality that is no way exploitative, but will hold a strong command on viewers. Much like the mesmerising, well choreographed dance scenes in the film, there is a power that projects the magnetic aura and power of femineity that feels almost supernatural. Horror movies have always been a stalwart for female roles both strong and exploitative (sometimes both at the same time), yet Suspiria brings a different dimension, delving into issues of motherhood, matriarchy, power and transformation.
It all results in a hypnotic mix, often punctuated by scenes of violence that are wince inducing in their impact. Other times unnecessary distractions break the spell, as exemplified in too much focus on the political upheaval that plays background, and an at times overbearing score by Radiohead singer Thom Yorke who somehow thought singing over his compositions was a good idea. In one especially key sequence near the films conclusion it certainly was not.
Thankfully the strengths of Suspiria are much more powerful than its glaring weaknesses. A remake in name, yet a whole new level of experience in execution, Suspiria is innovative, compelling, frustrating and frightening in equal measure. What a way to live up to the high expectations brought on by Argento’s horror classic.
