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Young American dancer Susie Bannion arrives in 1970s Berlin to audition for the world-renowned Helena Markos Dance Company, stunning the troupe's famed choreographer, Madame Blanc, with her raw talent. When she vaults to the role of lead dancer, Olga, the previous lead, breaks down and accuses the company's female directors of being witches
Roger EbertFull Review Good He (director) could have shocked you quickly with cheap scares. Instead, he's in it for the long haul, insidiously working his way under your skin to disturb you deeply. And for the most part, he succeeds, even as he frustratingly undermines himself with an overstuffed script...
USA TodayFull Review Very Good "Suspiria” is bound to alienate some. Actually, probably many. However, those with a penchant for the new wave of psychological horror and a healthy respect for B-movie camp will love this thing to the crazy last dance.
NY PostFull Review Very Good ...reboot of one of the freakiest horror movies to come out of the 1970s. And he pulls it off in delicious, gut-punching style. The finale should have you clutching your face "Home Alone” style as Guadagnino goes totally for broke.
Slant MagazineFull Review Below Average ...Luca Guadagnino's remake of Argento's film is silly and self-serious, a funereal pseudo-realist drama about political upheaval and the violence of systems that's at odds with itself. The new Suspiria has little of the restraint that made Guadagnino's prior Call Me by Your Name so poignant
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>American dancer Susie Bannion arrives in 1970s Berlin
hoping to join the world-renowned Helena Markos Dance Company. In her very first
rehearsal, Susie stuns the company's famed choreographer, Madame Blanc, with her
talent, vaulting to the position of lead dancer. Olga, the previous lead, breaks
down and accuses the "Mothers" who run the company of being witches. But before
she can flee, she is captured and tortured by a mysterious force somehow
connected to Susie's dancing. Despite these early warning signs, Susie continues
her rise to the top of the dance academy at all costs. As rehearsals continue
for the final performance of the company's signature piece, "Volk," Susie and
Madame Blanc grow strangely close, suggesting that Susie's purpose in the dance
company goes beyond dancing.
Meanwhile, psychotherapist Dr. Klemperer discovers a disturbing diary from his
patient, a former Markos dancer named Patricia, outlining an ancient demonic
religion practiced by the Mothers. After Patricia mysteriously disappears, the
doctor tries to alert the police but gets nowhere. Taking matters into his own
hands, he approaches a dancer named Sara for help. Following their meeting, Sara
ventures into the depths of the dance studio's hidden chambers, where strange
and horrific discoveries await.