Suspiria's

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Susan Miller
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Bella Freud

Welcome to Suspiria; Berlin, 1977. This is the nightmare that director Luca Guadagnino has been waiting a lifetime to create. This week Semaine and MUBI, the streaming service for film aficionados, form their own coven to bring you an exclusive glimpse at Guadagnino’s frenzied vision of the quintessential Italian horror classic, as Suspiria premieres in the Headline Gala of London’s BFI Film Festival. In a landmark move for the company, MUBI has acquired the release rights to Suspiria across the U.K. in its widest release to date. So enter at your own peril, as we lay our hands at the altar of Suspiria, harking back to the time capsule and tastes of 70s Berlin.

In Dario Argento’s 1972 original, open hearts spurt, chandeliered ceilings are felled by shrieking bodies, conversations build into a crescendo of hisses. Guadagnino’s vision of Suspiria features gowns of human hair, orgiastic frenzied dances, and the shimmering swipes of a giant curved hook. But where Argento’s vision folds in on itself, tumbling ever further into a technicolour hellscape; Guadagnino’s unfurls into its own grim nightmare—the streets of 1977 Cold War Berlin.

It is here where Susie (Dakota Johnson) tears away from small-town Ohio to land an audition at Markos Dance Company, governed with a stern grip by Madame Blanc (Tilda Swinton). Space has opened up, as ex-student Patricia (Chloe Grace Moretz), attuned to the sinister goings-on in the company, leaves—seeking solace in the office of Josef Klemperer played by Lutz Ebersdorf who, it has just been revealed, doesn’t exist and is actually Tilda Swinton masked in prosthetics. As it dawns on Susie that Markos has succumbed (or been seduced by) a coven of witches, her powers, and true self, are awakened.

We like our fairy-tales grim; this is the only wish Suspiria grants—late 20th century Berlin was no place for rapture. Guadagnino’s cover of Argento’s grindhouse masterpiece makes this plain, and, for all its exquisitely framed gore and drum snare-tight tension, Suspiria seems most interested in telling us about that most base and terrifying theme—our capacity for evil. The effect of Suspiria is most eloquently put by David Kajganich, the screenwriter of this update: “It’s like being dragged into a lava lamp by a lunatic and stabbed to death.” Indeed, the taut rasp of Swinton’s voice and the silk thread of Johnson’s, are all counterbalanced by Thom Yorke’s discordant score; thrumming on our nerves like a doctor of fear.

Guadagnino’s body of work now merits maestro status on par with Argento; though he is no stranger to reimaginings, as his sun-dappled, fever dream “A Bigger Splash”, itself remade from 1967’s “La Piscine”, showed. He’s claimed Suspiria was a stylistic homage to Rainer Werner Fassbinder; perhaps the first to marry the German father of realism with the pained throes of a demonic dance troupe. But such is Guadagnino’s punkish, surrealist thrill—just as his “A Bigger Splash” wove threads of needle-sharp social commentary into a Mediterranean lark, so too does Suspiria mine the pain of Berlin’s past as the stage for his phantasmagorical nightmare.

To Guadagnino, the thing to be revered most is Suspiria itself; an image of Luca in 2006, wearing a black t-shirt adorned with the original Suspiria graphics, recently went viral to show this. Of course, projects of passion do not happen overnight; Guadagnino and Italian producer Marco Morabito worked for more than 10 years to help realize his long-held vision; Luca has even said: “I had notebooks in which I would write, ‘Suspiria by Luca Guadagnino.’” Since age 13, Suspiria has entranced Guadagnino, when he glimpsed a broadcast on Italian public television while preparing for family dinner: “I said, ‘I don’t want to eat,’ and went and locked myself into a room all alone to watch it.”

The empty knocks of herringbone floors, and curls of cigarette smoke, are the furthest cry from the sun-kissed splendour, and sensual short-shorts of “Call Me By Your Name”, Guadagnino’s previous Oscar-nominated masterpiece. His longtime editor, Walter Fasano, compares the two best: “Call Me by Your Name is the sun, and Suspiria is darkness.”

And yet, Guadagnino slides his lens of psychoanalysis over Suspiria, looking at sexual awakenings of a different kind. Guadagnino’s canny reworking of the legend of witches avoids the sometimes schlocky aspects of its source material, aiming, as he said to “devictimize the women.” It is, after all, set in 1977—the heyday of second-wave feminism and the year of the watershed National Women’s Conference in the U.S.

Dakota Johnson summed up her character, Susie, best: “She’s like a little lamb that’s in awe of the world, and she’s shocked by everything, but she’s not timid. She wants it. She wants to drink it all in.” Susie explores her body; swapping the rituals of her Mennonite childhood for the thrill of dance, despite her lack of training. To bring this (under)world to life, Johnson has spoken of the “foundation of support and love and true, deep connections with one another” among the cast, with co-star Mia Goth describing working with an ensemble of actresses “really empowering.” Whereas the only glass ceiling broken in Argento’s vision was by the hung corpse of a dead victim, these are women who contort, reinvent, and are endlessly resilient—to the point of being eternal.

This is the horrifying effect of Suspiria—it plants this coven, its harlequin vision of dizzying ambition, firmly in reality. Guadagnino strips Suspiria of any artifice, strapping us into the world of his, Swinton’s, Johnson’s, and Argento’s creation. Step inside it with Semaine and Mubi, and join in the dance.

Guadagnino’s Suspiria will be in cinemas on the 16th November, with preview screenings across the UK. You can book tickets at www.suspiriamovie.co.uk/ now.

By Jonathan Mahon-Heap for Semaine.

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Sartorial supernatural

Silk. It’s so innocent. Reserved for blouses, doilies, and ill-advised pocket squares. But, since Anjelica Huston’s coven sported tar-black evening gloves in The Witches, it’s clear silk has also been the sartorial go-to for the supernatural. Semaine brings you a starter pack which is less Sabrina, more Anjelica. Forget the broomstick; sit for a spell, and let Semaine style you the wiccan way.

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Playlist

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Sound of Suspiria

Seeking “the fear, the evil, the humanity” of the movie, Guadagnino sought out Radiohead frontman Thom Yorke for the sounds of Suspiria. There’s the tinkle of synth, the stretched falsetto of Yorke’s voice, and the sense you’re listening to the soundtrack of a dance recital in the underworld. Open your ears, but don’t turn out the lights.

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Film Picks

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Inspiring Guadagnino

Are you watching closely? Sink into the nightmare that inspired Guadagnino; Argento's macabre and masterful original Suspiria, alongside this library of late 20th Century classics, which inspired his new vision.

Suspiria will be in cinemas on the 16th November, with preview screenings across the UK. Book tickets at suspiriamovie.co.uk.

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Bookshelf of Berlin

Post-war Berlin was a city latticed by shifting glances, and scrambling bodies; Suspiria talks about its reawakening. These stories also speak of a country reinventing itself, in cabaret basements, jazz clubs, and on the dance stage.

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Travel

Travel

The Berlin of Suspiria

It’s 1977. Your mum is fighting feelings for John Travolta in Saturday Night Fever. Flared jeans are the world’s strongest currency. Brecht plays are staged in dimly-lit cabaret basements. Berlin is a decade shy of its wall tumbling down to the soundtrack of popped champagne corks. Far from the rehearsals of Markos Dance Academy, Semaine tours the city as it was, and would never be again.

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Questionnaire

Questionnaire

Meet the Director and Cast of Suspiria

The women of Suspiria—Chloë Grace Moretz, Tilda Swinton, Dakota Johnson, and Mia Goth—join forces to tell us about the Suspiria set, and falling under Luca Guadagnino’s spell.

How does Guadagnino's interpretation of the film differ from the original?

Tilda: “As we know in music, covers often sound very different from the original song... The impulse to make this film comes out of a deep affection for Argento’s incomparable classic. We all have these particular booster jets, seed beds that fire us up. I’m so happy for Luca that he has finally made what he started visualizing so many years ago.”

Dakota, you've worked with Luca now many times, Suspiria is a little different to his other cinematic endeavours, what was it that drew you to this film?

Dakota: “We (Luca and her) had fallen so deeply in love with each other by then that I would have done anything he was directing."

Due to the substance of the narrative, you knew this was going to be a challenging project but aside from this did anything surprise you about the filming experience?

Chloe: “I wasn’t aware that I would need to speak German until two or three weeks prior! I rushed to learn the language and then had to integrate both English and German throughout the scene. It felt very frantic, which worked beautifully for the vibe.”

Dakota, you've worked with Luca now many times, Suspiria is a little different to his other cinematic endeavours, what was it that drew you to this film?

Dakota: “Susie comes from a Mennonite family and was born feeling as though her soul did not match up with the religion, the people, the rules. She wants to explore the world and sexuality and movement. And she has this innate power within her that I’m not sure she’s even aware of... She’s like a little lamb that’s in awe of the world, and she’s shocked by everything, but she’s not timid. She wants it. She wants to drink it all in. It’s an aggressive, unnerving way for a woman to behave in Berlin at that time, and you fear for her naiveté.”

And Tilda, what can you tell us of the character of Madame Blanc?

Tilda: "Ambivalence and a sort of twilight loneliness is her lot, she feels herself deeply compromised by the witchcraft she employs. The turbulent context of the Berlin she has survived and is living through is still an alienating one. Beautiful and cheerful are out: ‘We must break the nose of every beautiful thing.’”

Suspiria isn't centred around ballet as one would expect, why is this and what is the significance of the dancing, for you?

Luca: “For me, the radicalism of contemporary dance was the most important thing. The dance in the movie is deeply rooted in the flesh and blood of the characters, and I didn’t want it to be an occasion for a brief moment of beauty in movement. I wanted dance to be part of who these people are and how they behave.”

Suspiria is very much a film powered by women, how did you find the overall filming experience?

Dakota: "You go in thinking, ‘Okay, I’m going to film this psychotic story in an abandoned hotel with a cast of 40 women. It’s going to be mayhem!’ And yeah, everyone was on the same menstrual cycle — the whole thing was so witchy — but there was such a foundation of support and love and true, deep connections with one another. It was so liberating, and it made me feel proud to show this way of filmmaking to the world: There doesn’t have to be a leading man, or a male-female story to get the point of love across."

Mia: "It was actually really empowering... You don’t get the opportunity to do something like that very often, and we really supported each other. There should be more of that, because I think the end product is really incredible."

Tilda, you've worked with Luca many times before, how long were you in talks with him about Suspiria?

Tilda: "As long as I can remember we’ve been discussing and planning Suspiria. All those years of mastication, of marination, lend a deep ease to a project. I’ve experienced this long gestation scenario before with other filmmakers and I love it. It means the work evolves so incrementally and with such detail that shooting is an easy business."

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