Tag Archives: Luca Guadagnino

SUSPIRIA (2018)

5 Nov

Luca Guadagnino’s evocative, buzzed about remake of Dario Argento’s supernatural horror Suspiria is finally here in all its bloody glory. Starring Dakota Johnson, Tilda Swinton, Mia Goth and Chloe Grace Moretz, 2018’s version – though almost more of a sequel of sorts than a direct remake – is very much a work that stands on its own; it’s something that strives to challenge both new audiences and diehard fans of the cult classic. Set in 1977, (the year the original Suspiria was released in Europe) the film opens on a rainy day in Berlin where Patricia (Grace-Moretz) stumbles into the home of her psychiatrist, Dr Josef Klemperer (one of Tilda Swinton’s many roles here). After some incoherent ramblings about witchcraft and her dance instructors (it’s fitting that one of the film’s first audible lines is “they took my eyes and now they watch me everywhere”) Dr Klemperer decides his patient is delusional. Cut to the mennonite home of our protagonist Susie (Dakota Johnson) who, over a series of title cards, is flown to Berlin to audition for a prestigious dance school. She gets the role, but not after catching the attention of the school’s leadership who have a sinister pact with an ominous supernatural being known only as Mother.

The first act of Suspiria plays out like some frantic fever dream; Guadagnino creates a rich and impressively detailed atmosphere from the opening and employees jump cuts and sound design choices that become more unnerving and disorientating as the film progresses. It’s a lot to soak in at first and we never get the chance to really connect with any of the characters or their entwining subplots. Nor do we need to. The camerawork in conjunction with the editing does most of the heavy lifting here, utilizing the its own cinematic language to establish an overwhelming sense of unease. Suspiria is a powerfully paradoxical work that manages to be playfully surreal and imaginative while simultaneously still grounded in its expression of visceral human emotion. Scored by the dizzying compositions of Radiohead frontman Thom Yorke, the aesthetic setup of Suspiria plays out like a love letter to the European psychodramas of the 60’s and 70’s that Guadagnino assumedly grew up on; almost a sort of romantic tribute to the kind of films that – in the age of the big budget Disney franchise – we just don’t see room for in American megaplexes.

Romantic notions soon give way to horrific displays of violence in Suspiria; it should be seen as more of an occult book of spells than any kind of possible love letter. Guadagnino, in contrast to Argento’s abundant use of vibrant blood, plays down the impact of color in the film’s lavish setpieces, but he does not skip out on the level of unease, anxiety and uncomfortableness from the original. I became physically ill during parts of Suspiria – the breathtaking art direction provides a clarity to details and even simple acts like the closing of a curtain feel weighted and ominous. Certain scenes doubledown on the grotesque factor as an outright assault to the audience’s senses – I haven’t seen something so provocatively disturbing since a particular scene from Jonathan Glazer’s Under the Skin (you know the one I’m talking about). However, Guadagnino is less inclined to play things for shock value more than he is interested in the juxtaposition between the obscene and the beautiful. Suspiria constantly maneuvers this exploratory space into a variety of unexpected places, right up to its cataclysmic and frenzied nightmare of a climax. Guaranteed to be divisive among audience interpretations, Suspiria is the kind of work that implants itself deep in your brain and begs you to make some sense of it. If that’s not the definition of engaging cinema then I don’t know what it is.

A sophisticated, enchanting, and disturbing take on the beloved cult classic, Suspiria creates and then deconstructs its own artful and hallucinogenic universe resulting in a profound viewer experience that pushes the limits of conventional genre cinema.

Rating: 9.1

Film Recipe: Black Swan + Eyes Wide Shut + Possession (1981) + Twin Peaks: The Return

Advertisements

MOST ANTICIPATED 2018

2 Jan

After looking back on last year, and with the Sundance Film Festival right around the corner, it’s time to look ahead and see what stuff is on the horizon helping to establish 2018 as another great year in cinema. Here are the top ten films that I’m looking forward to seeing. You can check out last year’s list here.

10 – Untitled Suspiria remake/sequel 

Why? As an avid fan of the original I was one of many who rolled their eyes at the idea of yet another classic horror being remade (you can thank 2012’s The Thing, 2013’s Evil Dead and Carrie, 2015’s Poltergeist, among others). But then I heard the new project was being directed by Italian arthouse favorite Luca Guadagnino (Call Me By Your Name, A Bigger Splash) and it’s allegedly not so much a direct remake as it is a new take on something “inspired by the same story”. Color me intrigued.

Principal Cast: Tilda Swinton, Dakota Johnson, Chloë Grace Moretz, Mia Goth

Release Date:  TBA 

9 –  The Nightingale 

Why? After terrorizing audiences with the surprisingly-great Babadook, director Jennifer Kent is back with another horror thriller up her sleeves. This one is supposedly a revenge tale set in 18th century Tasmania.

Principal Cast: Aisling Franciosi and Sam Claflin

Release Date: August 10

8 – Isle of Dogs 

Why? Everyone and their dog loves Wes Anderson (Moonrise Kingdom, Rushmore) and based on the trailer, we can expect another bone-fide crowd pleaser. Get ready for a barking good time.

Principal Cast: Greta Gerwig, Bryan Cranston, Scarlett Johansson, Tilda Swinton, Bill Murray probably.

Release Date: March 23

7 – Piercing 

Why? Just when I thought I had become desensitized and jaded towards genre films, Nicolas Pesce comes along with the beautifully haunting Eyes of My Mother. While on paper this looks like another great entry into the 2018 horror slate, my gut tells me this might end up being more on the artsy side. Both Mia Wasikowska and Chris Abbot have a solid repertoire with these types of indie films and the fact it’s playing in Sundance’s Midnight section gives me solid hope.

Principal Cast: Mia Wasikowska, Chris Abbot, Laia Costa

Release Date: Sundance

6 – The Irishman

Why? Netflix is hosting the long-awaited reunion of Scorsese and De Niro (It’s been 20+ years!). While the streaming giant doesn’t have the greatest reputation of quality when it comes to original movies (looking at you Bright and War Machine), this mob drama looks like it has all the neccisary ingredients to become a major awards contender.

Principal Cast: Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel, Bobby Cannevale and other associated wiseguys

Release Date: Late 2018 or early 2019

5 – Widows 

Why? After directing one of the most powerful films of the decade (12 Years a slavebritish auteur Steve McQueen is back with a script co-written by Gillian Flynn (Gone Girl).

Principal cast: Liam Neeson, Viola Davis, Robert DuVall, Colin Farrell

Release date: An awards-friendly November 16

4 – The House That Jack Built 

Why? Because it’s a Lars Von Trier (Melancholia, Dogville) film about serial killer(s?). Count me in.

Principal Cast: Matt Dillon, Uma Thurman, Riley Keough

Release Date: TBA 

3 – Hold the Dark 

Why? Because Jeremy Saulnier (Blue Ruin) and Macon Blair (I Don’t Feel At Home in This World Anymore) have proven to be THE most badass team of genre filmmakers working today.

Principal Cast: Riley Keough, Alexander Skarsgard, Jeffery Wright, James Badge Dale

Release Date: TBA

2 – You Were Never Really Here 

Why? After seeing We Need To Talk About Kevin and having my soul sucked out, I was convinced Lynne Ramsay was one of the best and boldest in a new wave of dramatic directors (along with Denis Villeneuve, Michael Haneke, Steve McQueen and Paul Thomas Anderson) whose sensibilities lie somewhere in the uncomfortable middle of European neo-realism and arthouse psychodrama. Her latest received nothing but rave reviews out of Cannes where it premiered and it’s always refreshing to Joaquin Phoenix in his post-hip-hop-career.

Principal Cast: Joaquin Phoenix, Ekaterina Samsonov, Alessandro Nivola

Release Date: Sundance, and then everywhere April 6

1 – Annihilation 

Why? Ex Machina became the surprise sci-fi mindmelter and one of my favorite films of 2015, and so I’ve been eagerly waiting for whatever director Alex Garland does next.  A stellar cast and intriguing premise make this an absolute must see.

Principal Cast: Natalie Portman, Oscar Isaac, Tessa Thompson, Jennifer Jason Leigh

Release Date: Feb 23

Of course, 2018 will likely be filled with surprises and many great unknown films I’ve yet to hear about.  Let me know what you are looking forward to seeing this year in the comments.