#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Susie Bannion, a young American woman who travels to the prestigious Markos Tanz Company in Berlin in 1977, arriving just as one of its members, Patricia, has disappeared under mysterious circumstances. As Susie makes extraordinary progress under the guidance of Madame Blanc, the Company’s revolutionary artistic director, she befriends another dancer, Sara, who shares her suspicions that the Matrons, and the Company itself, may be harboring a dark and menacing secret.
Plot: A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe’s artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare, others will finally wake up.
Smart Tags: #telepathy #good_versus_evil #mysterious_disappearance #actress_plays_three_characters #dance_recital #1970s #intestines #witches’_coven #academy #strange_noise #spiritualism #bloodbath #witch #witchcraft #mysterious_event #triple_role #fake_credits #male_frontal_nudity #female_frontal_nudity #mirror_room #dancing_in_front_of_a_mirror
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Luca’s “Suspiria” brought me no words.
The horror in this movie is not like anything else I’ve ever heard or seen. The sheer film in Luca’s “Suspiria” is not like anything that is made by major movie studios such as Columbia, Paramount, 20th Century Fox, Disney, and the like. Director Luca Guadagnino transitioning from the LGBTQ+ drama adaptation “Call Me By Your Name” — transitioning to the avant-garde, psychological study in his version of famed director Dario Argento’s 1977 “Suspiria”.
Horror movies today don’t scare me. Horror movies of the 21st century seem to be involved in so much gratuitous gore, typical plotlines, a roulette set of actors playing quasi-characterization, varying degress of quality. Luca’s “Suspiria” — a horror movie from 2018 — did not scare me. Luca’s “Suspiria” unnerved me. Luca’s “Suspiria” built slowly in tension, but also captivated me with raw interest — “Suspiria” dealt its final blow, finishing with a nightmarish sixth act and an epilogue.
Argento’s “Suspiria” is a movie out of time in its own way. Argento’s “Suspiria”, a film released in 1977, looks fresh and modern — Argento’s “Suspiria”‘s fixation on primary neon colors and gore — Argento’s “Suspiria” with prog-rock, percussion score by the band Goblin. Director Dario Argento, however, does not like Luca’s “Suspiria”. Director Dario Argento claims it is without spirit, fear and music — Argento thinks the design is beautiful, so Guadagnino must have done something right.
Luca’s “Suspiria” is a movie unlike anything out of sheer audacity to become its own. Luca’s “Suspiria” in the way it handles narrative into six different, self-contained “acts” ending with an epilogue — Luca’s “Suspiria” in its washed-out, bleak setting complementing queer, disenfranchised coloring and nonconforming visual narrative — Luca’s “Suspiria” with its brooding realism, mysterious witchcraft and black magic — Luca’s “Suspiria” with mesmerizing visuals; unexplained syntax; self-contained exposure; restraint. Horror in Luca’s “Suspiria” is much more than simple disgusting imagery — Gore in Luca’s “Suspiria” is far and in between, but is visceral and disgusting all the same — Nudity in Luca’s “Suspiria” is all female, except one male.
Politics and dance in Luca’s “Suspiria” are vital to understanding 2018 “Suspiria”. Dance carries witchcraft and spells, and with it — uncompromising emotion, femininity, power, and rawness. The German Autumn of 1977, in which Luca’s “Suspiria” is set in a time where Berlin is divided into East and West (and when Argento’s “Suspiria” was released). The Lufthansa hijacking and the RAF faction. The mention of the Third Reich by Dr. Klemperer as a religion, and a delusion. What is and is not a delusion.
There’s something dramatic about Luca’s “Suspiria” itself. Dr. Lutz Klemperer in losing his beloved wife, Anke, in the Holocaust. Sara in losing her beloved friend, Patricia. Madame Blanc in beginning to love her newfound daughter, only to regret what she has done to her. The three girls in the ritual wishing for death, to be given a motherly kiss and then die. Klemperer’s meek inability to stop what he has witnessed through psychotherapy; his helpless stature in the finale. His erased memory to absolve him of his guilt, and of what he had to witness.
Dakota Johnson; the one actress from the terrible, mainstream “Fifty Shades” film trilogy. Dakota Johnson becomes remarkably unnerving, feminine, sexual, motherly, and incomprehensible. Tilda Swinton — her counterpart, Lutz Ebersdorf. Tilda Swinton’s role as a matriarch and founding mother of a coven; Lutz Ebersdorf’s role as a skeptical psychotherapist; a grieving widow. Chloe Grace Moretz as a politically-troubled woman; unstable woman; paranoid woman. Everyone’s performance as their roles felt utterly average — Everyone’s average performance as their roles grounded reality to the movie.
Thom Yorke in the music department did a nice job. Thom Yorke’s score for Luca’s “Suspiria” evoked the mood of a 70s prog-rock band with a niche for ambient synthscapes, musique concrete moods and piano experimentation; if we’re judging Thom Yorke’s soundtrack, its a nice collection of songs that should have been a Radiohead double album than a soundtrack. Of course, Thom Yorke’s score did not always fit Luca’s “Suspiria”; Some scenes with Thom Yorke’s pieces grated the scenes’ moods to pieces, yet in a similar manner as Goblin’s score for Argento’s “Suspiria”.
* A movie that left me deeply unsettled, and scared in my subconscious. A movie that made me depressed when it was depressed. A multi-faceted piece, Luca’s “Suspiria” is a rooted testament in femininity and matriarchy. Luca’s “Suspiria” is a movie without words.
This movie is an abomination. I truly wish this hadn’t been labelled a remake and had just been something new that was inspired by Suspiria or something. Imagine taking the most beautiful movie in the world and being like why don’t I make this ugly as hell. It’s also ridiculously long. One of my most hated movies.
The original Suspiria, directed by Daria Argento, was a masterpiece for a horror,suspense, mystery, fantastical film. This is a remake of it but instead of improving narrative, cinematography, character development, plot devices, script and acting, it fells short, very short. this does not scare at all nor makes you wonder what’ll happen next.
I like Tilda Swindon but her acting, because of script, is extremely weird and out of place.
No redeeming value whatsoever. It’s a waste of filmmaking.
Starts off well, but after that….
Suspiria, as I’m sure anyone reading this is aware, is a remake of the 1977 Dario Argento film of the same name. This time around, it’s directed by Luca Guadagnino (Call me by Your Name) and David Kajganich (who worked by Guadagnino on A Bigger Splash and created the AMC limited television show “The Terror”), and expands upon the folklore of Agento’s “Three Mothers” trilogy. 2018’s Suspiria is less a remake and more of an expansion on the world of the Three Mothers, even boasting a post-credit sequence, like an entry in the Marvel Cinematic Universe.
Dakota Johnson plays Susie, an American ballet dancer who joins a world-renowned German dance company, that harbors a dark secret. It is, you see, run by a coven of witches. Anyone who discovers the secret, or goes looking too deep, disappears-usually in a violent dispatching. Their motives are unclear, but they feed off of the energy of the young dancers and when one goes missing, it’s easy enough for them to find another to replace her.
Tilda Swinton plays Madame Blanc, the face of the dance company, a dancer and a dark entity that takes Susie under her wing. The most interesting scenes in Suspiria deal with their relationship. They’re at once predator and prey, mother and daughter, and two old souls who’ve known each other since before time. Their interactions, and the way they involve, showcase a much, much better movie than the one we ended up getting.
The problem with Suspiria is that it’s a mess-in every conceivable way, it’s a mess. As a horror movie, it isn’t scary; the scenes of suspense are taken to comical extremes. Whether these comical extremes are intended or not are up for debate, and in a better movie, that would be a subject of interesting conversation. Here, it’s simply confusing. As a drama, it’s incoherent. Twists in the plot occur without any real logic behind them. As a horror fan, I love movies that boast their own kind of self-contained logic, but that requires a certain suspension of disbelief that Suspiria just didn’t earn.
Suspiria is a unique paradox of having both too much and too little plot. It has too much plot dedicated toward dead-ends and too little dedicated to big reveals, where they wind up confusing and pointless. In a movie where about five notable things happen, to say its 2.5-hour-long run time is bloated would be a generous understatement. In what will surely become the film’s most infamous scene, Susie dances, while her movements magically contort and mutilate another dancer. This scene goes on and on and on, and the thing is, it’s not even particularly well-edited. Susie will do a pirouette, and the victim on the receiving end of it will… just sort of crash into a wall, or her jaw will unhinge. None of the movements match. It would have been interesting to see one movement darkly mirror another, or vice versa, but instead it looks like we’re watching two unrelated occurrences take place. It’s like watching someone eat cereal juxtaposed with a violent car wreck.
I don’t believe it’s a spoiler to reveal that Tilda Swinton also plays the character of Dr. Josef Klemperer, because it’s worth noting that her performance as him makes zero sense in the context of the movie. It’s a distraction. She also has an annoying acting tic as the doctor in which she clacks her jaw or smacks her lips every three seconds or so. It’s a bizarre choice that I think the filmmakers were proud of, but was a miscalculation from beginning to end. In an interview, David Kajganich said, “Both Luca and I were adamant that the male gaze never intrude,” and if that was their thinking here, it was a total failure.
Some of the more head-scratching decisions in the film can best be summed up the the terrorism subplot, an event never directly witnessed, but terrorists have kidnapped a group of people and a days-long event unfolds surrounding the school. At first, it adds a certain ambiance to the film, and it works really well in establishing the unease of the world outside of the dance company, as though the coven of witches are affecting the world at large around them. A girl named Sara (Mia Goth) hears something and pokes her head outside and says it was a bomb, that she can smell it. This helps put us, the audience, in the world with these characters. And then, this plotline just sort of drags along and becomes, strangely, a series of news reports, as though the movie we’re watching is being interrupted by an unrelated documentary. It never ties into the narrative as a whole, it’s just a distraction that, like the Tilda-as-a-doctor story, should have been left on the cutting room floor.
The film’s finale, in which everything comes together, just sort of staggers into place. Usually, getting everyone together all at once for the finish requires events established earlier, where a character will do this or that and everything pays off. This is just a scene that sort of happens, doesn’t have any real tension, and contains revelations that undo the entire plot that had preceded it. It’s also an extravaganza of terrible-looking effects and smeary frame rate that looks like it was inspired by the German shot-on-video horror entry The Burning Moon, but The Burning Moon was made for maybe a few thousand dollars and is genuinely unnerving.
To me, it feels like 1977’s Suspiria is the remake. It feels like that film took the 2018 version, looked at all the plots that went nowhere, trimmed them out, boiled it down to its purest essence, and made a crack rock of horror. The problem, I suspect, was the director’s desire to make this the first part of a trilogy, instead of a standalone movie. So, as a result, we’re left with some threads that may pay off later, but sure as hell don’t pay off here.
Suspiria is going to be a love-it-or-hate-it type of movie. I could see loving it, it just had a certain divorce from reality I didn’t think was earned; its surreal qualities weren’t enough to afford its more outlandish aspects. Its grounded-in-the-real-world vibe clashed with the horror instead of holding up a mirror to it.
Original Language en
Runtime 2 hr 32 min (152 min)
Genre Fantasy, Horror, Mystery, Thriller
Director Luca Guadagnino
Writer Dario Argento (characters), Daria Nicolodi (characters), David Kajganich (screenplay)
Actors Chloë Grace Moretz, Tilda Swinton, Doris Hick, Malgorzata Bela
Country Italy, USA
Awards 24 wins & 69 nominations.
Production Company First Sun, K Period Media, Videa, Frenesy Film Company
Sound Mix Dolby Atmos
Aspect Ratio 1.85 : 1
Camera Arricam LT, Cooke S3 Lenses, Arriflex 435, Cooke S3 Lenses, Arriflex 535, Cooke S3 Lenses
Film Length N/A
Negative Format 35 mm (Kodak Vision3 500T 5219)
Cinematographic Process Digital Intermediate (4K) (master format), Super 35 (source format)
Printed Film Format D-Cinema