Suspiria ★★★★½

Dear Ari Aster, this is how you make a 2½ hour horror film. Not a single scene passes without at least one element of plot or character development instead of reiterating what we already understand, and no scene is extended past its point of usefulness.

I enjoyed Suspiria just as much on a second viewing, probably moreso because I understood Klempner's journey better (up to a point). I think that, first time round, I overlooked the crucial exchange where it's explained that the witches are setting him up almost like Sgt Howie in The Wicker Man.

I still don't really understand the logic of the big twist regarding Mother Suspiriorum's identity, nor why the final shot suggests that the whole thing is supposed to be about the Holocaust. Or is that just a sentimental misstep that shouldn't really be the final shot? I mean, I'm not saying it's a perfect film, that bit could well be an error of judgement.

But it's so well paced, Tilda Swinton and Mia Goth are perfect, and the big finalé is suitably whacked-out. This is a very clever way to remake a classic exploitation film for the arthouse.

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