Suspiria ★★★½

Shares with the original a narrative that has little to really add to the unreality of the visuals. The problem is Suspiria (2018) doesn't make use of the gap left by a superfluous plot to really hammer home it's undoubtedly haunting imagery.

While it did take me a moment to get used to the unmotivated edits and camera movements, their melodrama a contrast to the dour colour palette of the scenes, I did come to appreciate the dancer-like pans and the variety of angles, shots, edits, framings offered up to the audience. Even if it becomes more of a detriment at the end of a way too long run time, the excess of the visuals in their styling more than their maximalist nature (a la the original), is stunningly unique.

The horror was actually life changingly good? No jumpscares, and horrifying imagery that just sits there and lets you absorb every facet of it. That's when you have confidence in your horror, bringing a lingering sense of unease or, in a few stand out scenes, a rising sense of terror. The pacing kept even (most of the time) by a return to horror again and again in different ways.

That was the film I loved, that fascinated me. A film that could have been as tight as the original while not derivative. The problem is the other film Guadagnino is trying to push in here, to infuse an affective delve into the hypnotism of witchcraft with politics that add nothing and mostly confuse the emotional trance the visuals seem to be cultivating.

And truly? I am tired of anything men have to say about women and power and emotionality. Especially in this emerging "elevated horror" genre, when all they do is reclaim things that were never theirs to reclaim in the first place and show a continued juvenile fascination with the female body - caught between desire for its false perfection and disgust with its natural change.

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