Luca Guadagnino follows up his Oscar-nominated Call Me By Your Name with a wild, to say the least, remake of Dario Argento’s 1977 horror masterpiece—without doubt the most polarizingly received film of the year. Which is it? Positive: “It is impossible to discuss the rapturous, experiential masterpiece that is Guadagnino’s Suspiria without dedicating this much space to its thematic density. It’s not a film one considers, but excavates, continually finding additional symbols and meaning within the deceptively simple setting. Suspiria is a theatre of pain and ugliness in which a woman such as Susie can and does come into her power. It is horrible. It is breathtaking. It is, to paraphrase Susie, she” —Screen Crush. Or is it negative?: “If life were infinite and leisure eternal and if the only challenge were how to fill the endless hours with something, anything, that might divert us even slightly, Suspiria would still be something to miss. Centuries and even millennia might go by, and it would still make sense to say no to this movie, because there’s just never a good time to see anything this worthless. Suspiria consists of long stretches of dull, interrupted by pockets of pointlessness and megadoses of disgusting” —SF Chronicle.
A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe’s artistic director (Tilda Swinton), an ambitious young dancer (Dakota Johnson), and a grieving psychotherapist (Lutz Ebersdorf). Some will succumb to the nightmare. Others will finally wake up. R. 152 Min.