SUSPIRIA is interestingly a lot different than its predecessor. In fact, I'd argue that outside the bare bones of the plot (American girl, dance studio, Germany) and some character names crossover, the two films are almost nothing alike. The color palette, camerawork, editing structure, score, aesthetics - it's all new and invigorating in Luca Guadagnino's film. I'm a big fan of Argento's original, but I appreciate how Guadagnino re-imagines this story and makes it his own. It would have been easy to echo Argento's gorgeous cinematography and moody score, but instead Guadagnino channels that elegance internally and focuses on psychology and theme.

The film is no doubt disturbing and very bizarre at times, but what moved me the most about it is how thematically rich and oddly poignant it becomes at the end. The end of Act 6 is especially visceral and haunting, but simultaneously there's a subtle tenderness that I did not expect. Its commentary on femininity, motherhood, power and empathy is surprisingly beautiful and affecting. And I loved it.

Dakota Johnson is a powerhouse and Tilda Swinton continues to be a chameleon.

Hear more thoughts on #298: insessionfilm.com/movie-podcast-suspiria-298/