By Andrea Thompson
From the beginning, the Suspiria remake is intent on giving us its own vision of Dario Argento’s beloved 1977 horror classic. Both films revolve around a young woman named Susie—played by Jessica Harper in the original and Dakota Johnson in the remake—who has come to Berlin to study at a dance academy, but most of the similarities end there. Where Argento tended to avoid the politics of the time and focused on creating a lavish feast for the senses, Luca Guadagnino immerses us in a grittier Berlin of darker muted color tones. The city is grappling with the revolutionary spirit of its young people; hijackings and bombings are semi-regular occurrences. Both films show Susie coming to the realization that the school is run by a coven of witches with supernatural abilities. But it’s the recent version that most fails to deliver the feminine, feminist vision it so clearly thinks it does. As The Love Witch director Anna Biller wrote in her essay about feminism in movies: “To be feminist, a movie has to have the express purpose of educating its audience about social inequality between men and women (and, I would argue, not take pleasure in the voyeuristic degradation or destruction of women).” Suspiria doesn’t much bother with the first, and absolutely takes pleasure in the second.