Suspiria ★★★★½

Luca Guadagnino’s Suspiria is everything I wanted it to be and more. Instead of remaking the original Suspiria, Luca decided to rework it. That was without a doubt the best thing Luca could’ve done with this film. Luca’s reworking of Suspiria is one of the most transfixing experiences I’ve ever had watching a movie. It’s a completely different film only using the barebones of the original. That’s why I will never compare it to Dario Argento’s Suspiria because they are both masterpieces in their own unique ways. 

After Call Me By Your Name, I don’t think anyone would have suspected Luca Guadagnino would tackle Suspiria. The final result shows that Luca Guadagnino is still a very special filmmaker. His phenomenal direction continues in Suspiria and I don’t doubt for one bit his filmmaking magic will stop after this. Again, Luca’s version of Suspiria is a total reworking. Forget the colorful and hardcore artistic style of Dario Argento. Guadagnino brings a totally different approach. His version is dark, dreary, demented, and sinister. It’s extremely atmospheric. Berlin is portrayed in a brilliant and correct fashion that is full of dread. Even when color stands out, there is no hope. 

Suspiria is a attack to both the body, and the mind. While it might not be scary, the horrifying imagery, the ultra-violent gorey aesthetic, and the spectacular yet twisted body horror make Suspiria a full on assault to the viewers eyes. On that note, Guadagnino’s version will and already has been met with divisiveness. I think almost everyone will come out of seeing this and appreciate the artistic style and choices Guadagnino chose to take but it might simply not sit well with some. Once the completely off the wall third act hits, that is when your final decision on this movie will be made. Many have pointed it out, but the divisiveness of this film is very much like the divisiveness that mother! was met with. 

Suspiria very much relies on the performances given. If Suspiria was a human body, the performances would be the spine. Without the spine, the body falls apart. Suspiria has the support it needs from three outstanding performances given by three exceptional actresses. Dakota Johnson’s performance as Susie Bannion is charming and hardcore as fuck. Her dedication is quite remarkable. Tilda Swinton ends up acting for multiple roles but her best performance was in the role of Madame Blanc. Her performance is extremely manipulative (in a good way). She ranged from being extremely kind to extremely intimidating, Suspiria’s silent-killer performance. Finally, Mia Goth as Sara. By far her best performance yet, Mia Goth breathes life into a character that wasn’t as emphasized as much in the original. She’s proving more and more she needs bigger supportive roles and her performance here is a step in that direction. 

Sadly, Suspiria wasn’t perfect. Unlike the original, the score is extremely lacking. There is points where it does fit, then points where it is completely out of place. The screenplay also spends a good amount of time trying to get you invested in Berlin politics during that time that simply didn’t make me want to care for it. Then in the final act there is some questionable filming and editing choices that didn’t look the best. These flaws by no means ruined the film for me, but they did stand out. 

I’m not afraid to call Luca Guadagnino’s Suspiria a masterpiece. Both films are in their own categories with different artistic and stylistic choices that make each film great. Guadagnino’s direction, set design, costume design, horrifying imagery, incredibly disturbing body horror, excellent performances, beautifully shot visuals, and the extremely violent nature of the film made Suspiria one of the greatest experiences I’ve ever had watching a movie.

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