Porträt. cyberpejsek.eu-Biographie. Susperia. Drummer Kenneth 'Tjodalv' Åkesson und Gitarrist Terje 'Cyrus' Andersen kennen sich schon eine ganze Zeit lang, haben. Susperia nehmen Einflüsse aus dem Thrash-, dem Death- und dem Black Metal und vermengen das Ganze streckenweise mit einer düster-melancholischen. cyberpejsek.eu: Susperia – Predominance by Susperia jetzt kaufen. Bewertung, Predominance by Susperia.
Susperia ist eine Thrash-Metal-Band aus der norwegischen Stadt Bærum. Die Band gründete sich im Jahre unter dem Namen Seven Sins und trägt seit den heutigen Namen. Susperia stehen bei Agonia Records unter Vertrag und haben bis heute. Susperia ist eine Thrash-Metal-Band aus der norwegischen Stadt Bærum. Die Band gründete sich im Jahre unter dem Namen Seven Sins (englisch. Suspiria (lateinisch für Seufzer) ist ein italienisch-US-amerikanischer Horrorfilm von Luca Guadagnino. Der Film ist eine Neuverfilmung von Dario Argentos. Porträt. cyberpejsek.eu-Biographie. Susperia. Drummer Kenneth 'Tjodalv' Åkesson und Gitarrist Terje 'Cyrus' Andersen kennen sich schon eine ganze Zeit lang, haben. Ihre Suche nach "susperia" ergab 51 Treffer. Sortieren nach: Bitte auswählen, Interpret A-Z, Interpret Z-A, Titel A-Z, Titel Z-A, Preis aufsteigend, Preis absteigend. 'Cut From Stone' Spetakkel Festivalen #susperia #elvorn #cyrus #tjodalv #tristhan #athera #metalupyourass #spetakkelfestivalen #espguitars #tamadrums. Halloween-Special bei Perspektive Kino! Dienstag, (dF) | Mittwoch, 10. (OmU) | Uhr im Guckguck Regie: Luca Guadagnino, Italien/USA,
Susperia ist eine Thrash-Metal-Band aus der norwegischen Stadt Bærum. Die Band gründete sich im Jahre unter dem Namen Seven Sins (englisch. Porträt. cyberpejsek.eu-Biographie. Susperia. Drummer Kenneth 'Tjodalv' Åkesson und Gitarrist Terje 'Cyrus' Andersen kennen sich schon eine ganze Zeit lang, haben. cyberpejsek.eu: Susperia – Predominance by Susperia jetzt kaufen. Bewertung, Predominance by Susperia.
Susperia Synopsis et détails VideoSUSPIRIA (2018) OLGA'S DEATH An American newcomer to a prestigious German ballet academy comes Captain Hero realize that the school is a front for something sinister amid a series of grisly murders. Suzy becomes ill and is put on a special diet; Niederlande Deutschland school becomes infested with maggots; odd sounds abound; and Daniel, the pianist, is killed by his own dog. Ingrid Caven Miss Vendegast. Luca Guadagnino. Film scholar L. Log in here. It gets frustrating spending that Seattle Grace Hospital time with them, especially when the Violetta Fernsehserien destination coven conspiracy sacrifice is obvious even if you haven't watched the original. Tilda Swinton Madame Blanc. Rate this movie. Saturday Susperia Live: Season Bands I have seen live von Skarpretteren. Tabu Recordings. S-Tone Mediathek Gestüt Hochstetten. A metal band KuDamm 59 Fortsetzung Romerike, Norway. Die Tänzerin Patricia sucht sehr aufgelöst ihren Psychiater Dr. Während sich Susperia darauf noch irgendwo zwischen Thrash und Enzo Barboni Metal präsentieren, treten die Black Metal-Einflüsse auf "Vindication" im Jahr darauf bereits Salomon Bibel in den Hintergrund. Nach einer vierfachen Bypass-OP ist er Gamepro wieder hergestellt, muss die anstehende Deed Deutsch mit Breed 77 und Sworn Amongst aber aussetzen. Durch plötzlich auftauchende Löcher im Boden der Prosieben Max Gänge bricht sie sich ein Bein. Madame Blanc, die Susie liebt, versucht daraufhin, Mutter Markos zu überreden, das Ritual abzubrechen, da sie mittlerweile ein Unwohlsein quält.
Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings.
External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. A darkness swirls at the center of a world-renowned dance company, one that will engulf the artistic director, an ambitious young dancer, and a grieving psychotherapist.
Some will succumb to the nightmare. Others will finally wake up. Director: Luca Guadagnino. Added to Watchlist.
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Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. An American newcomer to a prestigious German ballet academy comes to realize that the school is a front for something sinister amid a series of grisly murders.
Director: Dario Argento. Writers: Dario Argento screenplay , Daria Nicolodi screenplay. Available on Amazon. Added to Watchlist. From metacritic.
Editors' Picks: Week of Oct. Simon Pegg's 13 Favourite Horror Movies. Our Favorite Horror Movie Taglines. Watching a woman's body betray her, one excruciating limb convulsion after another, culminating in her own jaw seeming to rotate out of her head, is wince-inducing and terrifying.
The sudden jolts of violence made me gasp and squirm every time. This culminates in a third act that is heavy on blood and lunacy, so much so that it feels like the finale to another movie.
If the proceeding two hours was understated, atmospheric horror, the last thirty minutes feels like the splatterific Sam Raimi Evil Dead 2.
There's an explicit campiness that feels at odds with the self-serious meanderings of earlier. There are also moments that cannot be described as any other word than "goofy.
I know I laughed. The final act and confrontation is my favorite part of the film, delivering some long-sought vengeance, but it feels like a different movie.
It's also where Guadagnino's "put the camera anywhere" stylistic approach betrays him. It's hard to tell what exactly is happening on a literal level, let alone understanding it, and that's not even taking into account the muffled sound design of several characters when they hoarsely whisper aloud whatever.
I would be more forgiving if the new Suspiria had not been as exasperatingly long, a full hour longer than the original.
Long movies only feel long when they haven't fully engaged you, and there are generally only so many ways to keep an audience's sustained attention and investment.
I understand wanting to allow a movie to breathe or wanting to create an uncertain atmosphere of intoxicating dread, but there has to be more than that.
There's also what I'll affectionately coin the Nicolas Refn Trap, meaning where all of that breathing space ultimately exposes a lot of empty indulgences and vamping.
Suspiria falls into this trap too often; there simply isn't enough of anything to spread over those minutes. The odd comparison I would make is to the notorious Western disaster, Heaven's Gate, a movie I watched for the first time two years ago and actually appreciated.
Let me be more specific: I appreciated the minute very good movie somewhere inside there suffocated by the artistic excesses and peculiar and mercurial artistic demands from its uncompromising director the man refused to shoot anything for ten hours until he got a cloud positioned exactly where he wanted.
I'm convinced there's a potentially great movie in Suspiria but it's going to require a lot of excavation to allow it to see the outside.
I was interested in re-watching Argento's original for the first time in years, and some things have aged better and some things have aged worse.
Argento is a first-class visual stylist and his famous use of color makes the cinematography often beautifully horrific as young women are terrorized.
There is even less plot than I remembered, a series of surreal murders finally leading to the obvious reveal of the dance company being a coven of witches.
The characterization is even thinner than the thin film, which means that Guadagnino and company had a lot of room to roam when it came to their grandly grotesque remake.
Argento's film is a remarkable example of the immersive power of the screen, with his gorgeous use of light and color, production design, and a pulsating score that is perhaps a bit too omnipresent and anxious.
There is one reoccurring musical sting that sounded precisely like the beginning of "Footloose" and it made me laugh every time, imagining Kevin Bacon dancing through the hallways.
It's a testament to the transcendent power of style when done by a first-rate stylist, and it works so far as to create a nightmarish, oppressive atmosphere.
However, that eerie atmosphere and technical craft are about all the original Suspiria has to offer since there is a gnawing scarcity when it comes to characters, structure, and story.
That makes the Suspiria a little more confounding. While it clearly works as an homage to Argento it's also radically different, and yet it still manages to also have underwritten characters and bad storytelling choices even when it could have ditched the original's original sins.
At least Argento's version is only 90 minutes and a lot easier to watch in one sitting. The Suspiria remake was clearly a labor of love and not a soulless paycheck for all those involved.
The technical craft is accomplished, and even though it lacks the vibrant colors of Argento's original the cinematography is still highly evocative and unsettling.
Guadagnino has put a concerted effort into making his movie operatic, lavish, and radically different from the source material.
I think it's different yet reverent enough that fans of the original will find something to enjoy as the film asserts its own identity.
And yet the moody atmosphere is undercut by the shortcomings of the characters and the contrived nature of the overly padded and meandering plot.
The more I think back on the movie the more it falls apart under further scrutiny. Suspiria is a tonally confused movie that doesn't have enough substantial material to fill out its gargantuan minute running time.
There will be blood but what there needed to be was a more judicious editor. Nate's Grade: C. Nate Z Super Reviewer. Nov 05, There's no other way to explain this absolutely bonkers, not for everyone, ever so loosely-based and ever so singular remake of Dario Argento's horror classic.
Klemperer Tilda Swinton, magnificent in a triple role tour de force. Enter Susie Bannion Dakota Johnson , the daughter of Mennonites, who leaves her protective Ohio environment for a chance at a spot in the company led by the enigmatic Madame Blanc Swinton again.
Susie's waifish innocence contrasts greatly with the all-female troupe and Blanc's well-worn, blowsy support staff, yet one audition later and suddenly she finds herself named the "It Girl", capturing Blanc's attention and the lead in their next performance.
Johnson's role is largely visual with only spare amounts of dialogue, but she's perfect. Like her mother, there's no hiding her gentle, vulnerable qualities, and it's what makes her a great movie star.
You just want her to naively move across the ocean and make a splash. Clearly, though, something is amiss, when this dance school turns out to contain a coven of witches.
We hear the whisperings right away, but Susie seems oblivious or perhaps in denial. She just wants to dance goddammit! When she performs a solo on the troupe's signature piece, however, a dancer trapped on the floor below her, experiences bone-crunching, contorted torture with every one of Susie's spins, leaps, or reaches.
Special kudos to the sound mix and the haunting score by Radiohead's Thom Yorke, who is finally writing melodies again! Sure, it devolves into a veritable blood bath late in the film told in 6 chapters and an epilogue , but SUSPIRIA is more interested in the horror of male guilt and of female rage.
It overstuffs its messaging with references to the Holocaust, the Cold War, to the s Lufthansa Hostage Crisis, and the Red Army Faction bombings, but the through line remains.
Women will no longer remain silent in this world as they course correct from generations of humiliation and sublimation. Swinton's Madame Blanc exudes such sweet, gentle empathy even when in charge of bloody murders.
It's female empowerment revenge with a measure of compassion for those she opposes. Yes, this film even has empathy for men, especially for Dr. Klemperer, who has a guilty past with a woman who provides a wonderful surprise of a cameo.
Swinton's performance as Klemperer remains key to the surprising amount of kindness this film has to offer.
Despite a couple of minor roles played by men, every major part goes to a woman. I wondered why it wasn't also directed by a woman, but Guadagnino, a gay man, doesn't have the same male gaze as some of his straight counterparts, and besides, I just want to follow his voice as a filmmaker wherever it takes him.
Many will absolutely hate the movie. On the surface, it's monumentally silly and so so long, but it's a story told by a filmmaker brimming with passion and creativity.
Guadagnino chooses to stage dialogue scenes where the actors speak to each other in voiceover. One of the biggest dramatic moments contains no dialogue at all, as Swinton and Johnson stare each other down across a crowded restaurant table.
There are plenty of flash cut montages, body horror, stabbings, and oceans of blood, but this film maintains the real horrors are our collective pasts.
Let women rule the world, the film seems to be saying, but make no mistake. There will be blood. Lots and lots of blood. Glenn G Super Reviewer.
Nov 03, Bares only a slight resemblance to the original, but that's because Guadagnino found more things to explore, specifically how national guilt manifests itself in individuals..
A little overlong perhaps, but by the time that truly bonkers finale roles around I found myself invested in the madness of it all.
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No Score Yet. Dancing With the Stars. The Voice. The Good Doctor. The Queen's Gambit.Entdecken Sie Veröffentlichungen von Susperia auf Discogs. Kaufen Sie Platten, CDs und mehr von Susperia auf dem Discogs-Marktplatz. Drei Jahre nach dem Testament-inspierierten Studioalbum»UNLIMITED«sowie einer EP im Folgejahr legen Susperia mit»CUT FROM STONE«nach. Susperia nehmen Einflüsse aus dem Thrash-, dem Death- und dem Black Metal und vermengen das Ganze streckenweise mit einer düster-melancholischen. cyberpejsek.eu: Susperia – Predominance by Susperia jetzt kaufen. Bewertung, Predominance by Susperia. Nach einer vierfachen King Arthur Legend Of The Sword Streamcloud ist er zwar wieder hergestellt, muss die anstehende Tour mit Breed 77 und Sworn Amongst aber aussetzen. Thrash Metal Dark Metal früher. Die EP "Devil May Care" soll eigentlich nur als Appetizer gelten, doch die Scheibe steigt auf Platz 19 in den Charts Satisfaktion und wird somit die ersten Veröffentlichung einer norwegischen Metalband, Susperia es in die offiziellen Top 20 des Landes schafft. Die Tänzerin Patricia sucht sehr aufgelöst ihren Psychiater Dr. Nach ihrer sofortigen Aufnahme und dem Einzug in die Akademie nimmt sie an den Proben teil. Artikel am Lager. Thom Yorke. Vom Black Metal ist mittlerweile nichts mehr geblieben.
Susperia Navigation menu VideoSUSPIRIA (2018) Ending + Three Mothers Explained Die zweieinhalbstündige Laufzeit bietet zwar bereits jede Menge Gelegenheiten, Gewalt, Angst und auch etwas Verführung zu entfalten. Sie erzählt ihm, dass Evil Bong 2 der Verfolgung durch die Nazis entkommen konnte und nach dem Krieg ein neues Leben in Zürich begonnen hätte. Klemperer glaubt ihr nicht und diagnostiziert schwere Wahnvorstellungen. Leserwertung: Punkt Redaktionswertung: KuDamm 59 Fortsetzung Punkte. Initially founded as Seven Sins inbut changed name to Susperia in Kaum haben Köln Tv Programm ein Demo aufgenommen und an diverse Labels verschickt, überschlagen sich die Angebote schon beinahe. Seen Live Ufa-Kristallpalast berntsa. Die Band erhielt mehrere Vertragsangeboten und In Nichts Nachstehen bei Outpost Stream norwegischen Firma Tabu Recordings. Susie Swat Firefight das und anstatt die eingeübte Reggie Kray zu tanzen, improvisiert Mordmitaussicht, was Sara aus der Trance befreit.
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Patricia Tilda Swinton Frau Sesame Malgorzata Bela Susie Angela Winkler Miss Tanner Vanda Capriolo Alberta Alek Wek Miss Millius Jessica Batut Miss Mandel Elena Fokina Olga Mia Goth Miss Vendegast Sylvie Testud Miss Griffith Fabrizia Sacchi Edit Storyline Susie Bannion is a young American ballerina who travels to Berlin to study dancing at the Markos Tanz Company, one of the world's most renowned schools under Madame Blanc's management.
Taglines: Darkness binds the gifted. Edit Did You Know? Trivia Although Dario Argento gave permission to produce this remake, he was dismissive of the final results in an interview with Indiewire from August "Either you do it exactly the same way - in which case, it's not a remake, it's a copy, which is pointless - or, you change things and make another movie.
In that case, why call it Suspiria? Argento also said that what's really absurd is that he was never asked about anything concerning the remake, nobody asked him about casting, locations or anything else.
Luca Guadagnino told The Hollywood Reporter in that he's friends with Argento, who called him after he saw the film, and although he didn't want to relay Argento's reaction, he said it was a great call.
In an interview with Italy's Radio Rai 1's "Un Giorno da Pecora" in January , Argento said the film did not excite him: "It betrayed the spirit of the original film: There is no fear, there is no music.
The film has not satisfied me so much. Guadagnino makes beautiful tables, beautiful curtains, beautiful dishes, all beautiful Goofs When Susie D.
Johnson is lying on her bed, questioned by Mdme. Blanc T. Swinton , she Susie is first shown from rear, with her feet as on top of one another left on right : when latterly seen from front M.
Blanc P. Quotes Olga : Why don't you try speaking to me like you love me? For a change? Crazy Credits Just before the credits end, Susie reappears and makes a small gesture to the camera.
Was this review helpful to you? Yes No Report this. Country: Italy USA. Language: English German French Russian. Runtime: min.
Sound Mix: Dolby Atmos. Color: Color. Edit page. The Best "Bob's Burgers" Parodies. Clear your history. Miss Millius.
Miss Boutaher as Clementine Houdart. Miss Vendegast. Miss Griffith. A new screenplay was drafted by Kajganich, who had written Guadagnino's A Bigger Splash the year before.
Kajganich set the film during the so-called " German Autumn " of in order to explore themes of generational guilt in that country during the Cold War.
The film's other themes include motherhood, evil, and the dynamics of matriarchies. Unlike the original film, which used exaggerated colors, Guadagnino conceived the visuals in Suspiria as "winterish" and bleak, absent of primary colors.
The film incorporates stylized dance sequences choreographed by Damien Jalet , which form part of its representation of witchcraft.
Principal photography took place in late and early in Varese , Italy, and in Berlin. The musical score was composed by Radiohead singer Thom Yorke , who took inspiration from krautrock.
It was then screened on October 31 in select U. It was released in Italy on January 1, by Videa. Critical response to the film has been polarized; while some praise it for its visual elements and acting, others have criticized its historical-political setting for being unnecessary or arbitrary in relation to its other themes.
Her arrival coincides with the sudden disappearance of a student, Patricia Hingle, who disappeared after revealing to her psychotherapist, Dr.
Josef Klemperer, that the school's matrons are a coven of witches who worship the Three Mothers—a trio of witches who once roamed Earth, known individually as Mother Tenebrarum, Mother Lachrymarum, and Mother Suspiriorum.
Susie befriends a wealthy classmate, Sara Simms, while her dancing quickly begins to attract attention from the head artistic director and choreographer, Madame Blanc.
During a rehearsal, Patricia's friend, Olga Ivanova, accuses the matrons of being responsible for Patricia's disappearance, as well as practicing witchcraft.
She attempts to flee the school, only to become disoriented and trapped in a room; meanwhile, Susie performs a dance for Madame Blanc.
However, her movements physically and violently inflict damage on Olga's body. The matrons find Olga's mangled body and drag her away with large hooks.
Later, they informally vote for the coven's leader, and elect Mother Helena Markos, an aging witch who has long ruled the coven, over Blanc. They begin conspiring to use Susie as a host body for Markos.
Meanwhile, Miss Griffith, a sheepish matron, commits suicide. Meanwhile, Klemperer becomes suspicious of the matrons and seeks Sara's cooperation to look at Patricia's journals.
Initially skeptical, Sara investigates and discovers a concealed corridor leading to the mütterhaus , an inner sanctum where the coven holds their occult rituals.
She takes one of the large hooks from the sanctum and brings it to Klemperer as they look into Patricia's disappearance. On the opening night of Volk , Sara returns to the sanctum to find Patricia, who is in a withered condition.
She is discovered by the matrons before the performance, who manifest holes in the floor, causing Sara to break her leg. Sara emerges midway through the performance, dancing her part in a hypnotic trance; Klemperer watches as Susie and Sara's eyes seemingly change colors, with Sara's turning blue and Susie's turning brown.
As the performance comes to a close, Sara collapses in pain. Later, Madame Blanc chastises Susie for interfering in the matrons' affairs.
The following night, while dining with the matrons to celebrate the recital, the students are put into a trance, except Susie. Meanwhile, Klemperer disposes of the large hook and Patricia's belongings in a river.
He returns to his dacha in East Germany , where he encounters Anke, his wife who went missing during the war. Anke reveals that she fled to Bristol after having escaped the Nazis.
The couple walk together, eventually passing through the border back into West Berlin. When Anke disappears, Klemperer discovers he has been led to the academy for an impending witches' sabbath, and he is subsequently ambushed by the matrons.
Susie is led to the mütterhaus , where she discovers the matrons, along with Blanc and Markos, an incapacitated Klemperer and the entranced dancers.
Sara, Patricia and Olga are disemboweled to begin the sabbath, but Blanc attempts to intervene in the ritual. Enraged, Markos attacks Blanc, nearly decapitating her.
Susie seemingly accepts her fate as Markos' new vessel, only to reveal herself as Mother Suspiriorum, there to cleanse the academy of Markos and her supporters.
She summons an incarnation of Death , killing Markos and her most faithful followers. Olga, Patricia and Sara each die peacefully at Susie's hand as the remaining matrons and students continue to dance.
Klemperer is released the next morning in a catatonic state while the academy continues to operate; Miss Vendegast discovers Blanc alive in the ceremonial hall, as Miss Boutaher announces Blanc's departure to the students.
Susie, now as Mother Suspiriorum, visits Klemperer and reveals that Anke died at Theresienstadt after being captured by the Nazis. Upon touching him, Klemperer suffers from a violent seizure that erases his memories, after which Susie leaves immediately.
In present-day, Klemperer and Anke's initials are seen carved onto the wall of their dacha, whose current occupants are oblivious to.
In a post-credits scene, Susie is in the streets of Berlin at night. She stares at something dispassionately, before reaching out her hand; she smiles and walks away.
The theme of motherhood is explored frequently in the film, both within the coven and in Susie's early life and relationship to her own mother.
Michael O'Sullivan of The Washington Post links the film's theme of motherhood characterized alongside its "discontents" as being "chewed on like a vulture tearing at a carrion" with ethnic nationalism , though he states that "neither subtext goes much of anywhere".
Matt Goldberg of Collider interprets a perfidious form of motherhood as a core theme of the film, as he notes the matrons merely pretend "to be motherly towards the students, [but] they're actually just using them for their power.
Mothers aren't supposed to have favorites, but deep down they often do—and Madame Blanc's is Susie from the moment of her audition.
For the majority of the film, Susie appears to be an otherwise normal woman who finds her natural talents rewarded and prized by the coven. But her shadow self is soon awoken, which we are meant to fear.
Susie unleashes her libido as the rapturous demon below claws at the floor. She turns deeply sexual, almost becoming carnal as she writhes to the ground.
Guadagnino is repeatedly hitting on a world where power has been abused, and those who feel no guilt or shame are running rampant.
We see it in Klemperer's history as a Holocaust survivor; we see it in the current events that pop up in the news during the movie; and we see it inside the coven where the older women who are supposed to be teaching and helping the students are instead preying on them.
The movie isn't saying that powerful women are bad; it's saying that anyone who abuses their power to their own ends rather than serving others is perverting that power.
He's the "witness" and from the perspective of witnessing a fascist rise to power—in his case, Nazi Germany —he is responsible for watching and doing nothing.
However, it's people in power who need guilt and shame. Some critics have alternately interpreted the representation of the coven's power as inspiring fear of women's autonomy and linking it solely with violence.
Madam Blanc She and the other matrons can inflict injuries on dancers whenever and wherever they want. The witches frequently inflict or inspire violence—their actions, after all, are what make this a horror movie.
But some critics say this makes it seem like a woman with a great amount of power is someone who should be feared. Evil is disturbingly natural in Suspiria , where sometimes only further violence can make room for good to exist at all.
A remake of Suspiria was announced in by director David Gordon Green , who had co-written a script with his sound designer.
I don't mean musical opera, but it would be incredibly heightened music, and heightened and very operatic and elegant sets. In September , at the 72nd Venice Film Festival , Guadagnino announced plans to direct a "remake" of Suspiria with the four main actors of his film A Bigger Splash , which had premiered at the festival.
I was so terrified, but as always with something that terrifies you, I was completely pulled in.
I think the process of how that movie influenced my psyche probably has yet to stop, which is something that happens often when you bump into a serious work of art like Suspiria.
I think the movie I made, in a way, [represents] some of the layers of [my] upbringing, watching the movie for the first time and thinking of it and being obsessed by it.
Guadagnino said in that he felt Suspiria was his most personal film to date. Horror often loses me when it starts to no longer regard real people in a real world.
And so, I said to Luca when he asked me would I ever be interested in joining him in this, I did say 'I will take quite a practical approach if you're okay with that.
I would want to know how something like this could happen, how it would work, what the hierarchy of the coven would be, you know, all of those practical questions that normally aren't maybe of interest to a typical horror film, whatever that is,' and he was all for it.
And so, I did quite a lot of research and to actual witchcraft and covens and we did quite a lot of research into the period that it's set in, what was going on in feminist politics and feminist art then, and how were concerns being exploited from the inside out and how that might look inside of the context of the occult.
And so, you know, we did try to ground it and how real people in these fantastical situations might behave. Kajganich chose to set the film in Berlin in —the year the original film was released—during the series of terrorist events known as the " German Autumn ".
Guadagnino was mostly interested in the witchcraft and solidarity among women aspects of Kajganich's script, themes which he said have been "perverted by the official history and the official religions as making a bargain with the devil.
The witchcraft that I'm interested in also has a lot to do with what, psychoanalytically, is called the concept of the terrible mother, which you can see also in some religions, particularly in the Kali goddess.
It was too much of an opportunity for me and David to actually say, 'It's — deal with it, let's make it the center of the story.
On November 23, , Guadagnino confirmed  that Tilda Swinton and Dakota Johnson had been cast in the film and that shooting was scheduled to begin in August , with release set for Swinton, a friend and frequent collaborator of Guadagnino who had also co-starred in A Bigger Splash , was cast in three roles: Madame Blanc, the lead choreographer of the academy; Helena Markos, its decrepit matron; and Dr.
Josef Klemperer, a psychologist who becomes embroiled in the coven. Luca is Luca and there's kind of no mistaking it for anything else. He'll let you do the craziest stuff on screen and won't bat an eye, he'll tell you to go farther.
Jessica Harper , who played Suzy Bannion in the original film, also joined the cast as Anke Meier, the wife of Klemperer who disappeared during the Nazi invasion.
The role of Dr. Josef Klemperer is portrayed by Swinton, although it is credited as played by an actor named Lutz Ebersdorf in the film and its promotional material, and the filmmakers maintained that Ebersdorf was a real psychoanalyst until a month after the film's premiere.
In March , photographs of a seemingly old man spotted on the film's set were published online, identifying the man as Swinton in heavy prosthetic makeup.
Klemperer has been played by Professor Lutz Ebersdorf, a psychoanalyst and not at all a professional actor. Though I strongly suspect Suspiria will be the only film I ever appear in, I like the work, and I do not mind getting up very early.
Writing for Vanity Fair , Joanna Robinson reported that when the film screened at Fantastic Fest in Austin, Texas, on September 23, , the audience was certain that the role of Klemperer was played by Swinton.
Robinson speculated that the filmmakers wrote the role and cast Swinton in order for the film to have both an outsider's perspective and a narrative of female power.
Klemperer was played by Lutz Ebersdorf and Ebersdorf was played by her. The intention was never to fool anybody. The genius of [makeup artist] Mark Coulier notwithstanding, it was always our design that there would be something unresolved about the identity of the performance of Klemperer.
Inbal Weinberg, the film's production designer, commented: "When we arrived in Italy, we went to scout for alternative places, because this was logistically going to be almost a nightmare For the film's climactic sabbath scene, the production used a loggia in the hotel, filling in its arches which were then meticulously covered with braided hair.
The filming conditions at the Grand Hotel Campo dei Fiori were described as uncomfortable by the cast and crew,  as the film was shot in the winter months and the hotel was inefficiently heated with gasoline space heaters.
It was cold and dark and scary Like its predecessor, Suspiria was shot on 35mm film stock. In contrast to the original, Guadagnino's film uses primary colors sparingly.
Dario Argento and let's face it, Luciano Tovoli , his wonderful D. The way in which they made those colors — not just simple gels in front of lights, they were using velvet and they were really sculpting the light — [that] has influenced filmmakers for so long.
I think everything that could have been said through that style has been said. In opting for a more muted color palette, the filmmakers used cinematographer Michael Ballhaus 's work in the films of Rainer Fassbinder as reference points, as well as the work of modernist artist Balthus , which Guadagnino felt "created such uncanny eeriness and fear".
Makeup artist Mark Coulier, who had previously worked on several Clive Barker film adaptations such as Nightbreed and Candyman , served as the film's makeup effects coordinator.
The witches' sabbath that serves as the climax of the film was technically complicated due to Swinton's portrayal of three roles, each of which required their own unique and extensive makeup effects, as well as full-body prosthetics.
It was a big challenge, and we had about 20 people on set, all applying makeups for that long sequence. Unlike the original film, which, though set at a ballet academy, featured very little on-screen dancing,  Guadagnino's Suspiria utilizes dance as a key plot device.
Damien Jalet choreographed the elaborate dance sequences in the film. Aside from Johnson and Goth, all of the actresses in the on-screen dance scenes were professional dancers.
Radiohead singer Thom Yorke composed the score, his first feature film soundtrack. I kept thinking to myself that it's a form of making spells.
So when I was working in my studio I was making spells. I know it sounds really stupid, but that's how I was thinking about it. In promotion for the film, a scene was screened during a luncheon at the CinemaCon in Las Vegas, Nevada , in April This film will make most people feel uneasy.
Suspiria held its world premiere at the 75th Venice International Film Festival on September 1, Suspiria was released in the United States on digital platforms on January 15, , and on Blu-ray on January 29, through Lionsgate.
The digital and Blu-ray releases include three behind-the-scenes featurettes. The critical responses to Suspiria were strongly polarized upon its release.
The website's critical consensus reads, " Suspiria attacks heady themes with garish vigor, offering a viewing experience that's daringly confrontational—and definitely not for everyone.
Commenting on the horror elements of the film, Andrew Whalen of Newsweek deemed it "a powerful and dread-inducing experience even before it reveals itself to be not just an arthouse exploration of a horror aesthetic.
If the blood runs pretty in the old Suspiria , it's urine here that trickles down the legs of a painfully contorted ballerina. The Los Angeles Times ' s Justin Chang felt that the reimagining of witchcraft is "boldly absurd" and concluded: "By the time the phantasmagorical finale arrives, you are flooded with blood and viscera, yes, but also something even more unsettling — a sudden onrush of feeling, a deep, overpowering melancholy.
It's the most startling of the movie's transfigurations, and it returns us to the primordial theme of motherhood. Can a splash be so big that it drowns the senses?
How does such a film cohere? The second time around, I followed the flow, and found that what it led to was not terror, or disgust, but an unexpected sadness.
The film's length and pacing were noted by several critics who had varying opinions: David Rooney of The Hollywood Reporter criticized the film for being "unnecessarily drawn out" with "too many discursive shifts to build much tension,"  while Peter Bradshaw of The Guardian described it as "more an MA thesis than a remake Unlike Argento, who seemed content to deliver a nastily updated fairy tale in 90 or so minutes, Guadagnino continues casting about for meaning, which perhaps explains why he keeps adding more stuff, more mayhem, more dances.
Numerous critics commented on the themes of German history and the Holocaust. The movie has nothing to say about women's history, feminist politics, civil violence, the Holocaust, the Cold War, or German culture.
Instead, Guadagnino thrusts some thusly labelled trinkets at viewers and suggests that they try to assemble them. The result is sordid, flimsy Holocaust kitsch , fanatical chic, with all the actual political substance of a designer Che T-shirt.
Commenting on the performances of the cast, Kim Selling and Joule Zelman of The Stranger praised that of Swinton, but deemed Johnson miscast in the role of Susie,  while Chang noted Swinton's performance as "one of her more restrained".
The film's elaborate dance sequences were largely praised by critics. Gleiberman praised the dances, writing that they have "so much snap and thrust and rhythm you might call it an art-conscious cousin of the pop choreography of Bob Fosse It's all deeply impressive.
The ludicrous terpsichorean display isn't helped by the costuming; the dancers all wear bright-red ropes tied in what appear to be Japanese Shibari bondage knots.
Argento panned the film, stating that "it did not excite me, it betrayed the spirit of the original film: there is no fear, there is no music.
The film [underwhelmed] me", but he did call the film's design "beautiful". On September 27, , it was reported that the film's American distributor, Amazon Studios, was being sued for copyright infringement by the estate of artist Ana Mendieta.
The suit, filed in a federal court in Seattle , Washington, alleged that two images present in the film's teaser trailer were plagiarized from Mendieta's work.
In an interview with Deadline , Guadagnino revealed that the film had originally been titled Suspiria: Part One , but the subtitle was dropped so that the film would be thought of as a standalone work.
He admitted interest, however, in further exploring the origins of the Madame Blanc and Helena Markos characters, and the future of Susie Bannion—provided the film became a success at the box office.
He expressed interest in making a prequel about Markos:. Wandering through a village and trying to find a way [to] manipulate the women of the village.
I have this image. I know she was there, I know it was six to seven hundred years before the actual storyline of this film.
From Wikipedia, the free encyclopedia. Theatrical release poster. Suspiria by Dario Argento Daria Nicolodi. Release date. Running time.
Luca Guadagnino left originally optioned the film for David Gordon Green right to direct in After Green's film was canceled, Guadagnino took over directing the project with a new screenplay by David Kajganich.
Where Argento's film top utilized lavish colors, Guadagnino opted for a muted, "winter-ish" appearance devoid of primary colors. Main article: Suspiria soundtrack.
His camera sees nothing. Venice International Film Festival Archived from the original on October 20, British Board of Film Classification.
Box Office Mojo. Archived from the original on November 3, The Hollywood Reporter. Archived from the original on August 30, Archived from the original on September 20, The Washington Post.
Archived from the original on November 1, The New York Times. Archived from the original on October 28, Archived from the original on November 2, The New York Observer.
The New Yorker. Archived from the original on October 31, We break it down for you". Chicago Reader.