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Suspiria 123 Full Movie Plot & Release Dates.
I know this isn’t cool and perhaps pointless to say, but I wish a woman had remade Suspiria. Let me unpack that. One: I wish a woman had been empowered and/or inspired to take a crack at Dario Argento’s iconic but deeply flawed witch tale. But I love Luca Guadagnino’s grotesque, political, radically feminine (feminist? We’ll get to that later) interpretation, and it’s not at all accurate to say that I wish the job had gone to another filmmaker. And so, two: I wish that more female filmmakers were making this kind of work at this level, tales that go beyond simple empowerment and voice-giving and live in the chaotic, ambiguous, messy and biological realm that should be the antithesis of patriarchal cinema. Suspiria had me thinking more than a few times of Paul Verhoeven’s Elle, one of the best, most psychologically complex and uncompromising films about sexual assault in recent years, another film by a man. As with Verhoeven’s film, none of what Suspiria arrives at is comfortable, and I wish there were more stories about women by women that were emboldened to be this unsettling.
What Luca does, and frankly, what Suspiria deserves, is to turn the tale of a coven of witches who lord over an unholy dance academy in Berlin inside out. What was a pretty goal-oriented game of “escape the of old crones” becomes something more impressionistic about the absurd violence of being a woman. Just as in the original, it begins with Susie Bannion’s (Dakota Johnson) auspicious arrival at the Markos Dance Academy, and the unraveling of Patricia Hingle (Chloe Grace Moretz.) But screenwriter David Kajganich digs deeper into almost every aspect of Argento’s original, particularly Susie’s American origins, and the setting of Berlin during the “German Autumn” of 1977, when the Baader-Meinhof Group was perpetrating terrorist acts all over the city. The mess of divided Berlin and the horrors of the Third Reich haunt the school, ruled over by artistic director Madame Blanc (Tilda Swinton) and the seldom seen grand dame Helena Markos. Their institution could be seen as a kind of counterbalance, a fortress against the ugliness that Berlin has seen, a beacon of hope through art and expression and physical integrity.
But it’s clear from the outset that a deeper violence lives in its walls, and it’s driven Patricia mad, confiding in her analyst Dr. Josef Klemperer (“Lutz Ebersdorf,” but quite obviously Swinton under layers of convincing prosthetics.) The elderly Josef spends much of the movie investigating the strangeness of Patricia’s claims, and her subsequent disappearance (explained away by her involvement with the radicals.) But he’s a faithful Jungian, and convinced that all her fantastical claims of witches and magic can be explained through rational analysis.
Original title Suspiria
IMDb Rating 7.3 10,698 votes
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