Spoilers ahead: Suspiria (2018) may not be a film driven by a feminist agenda, but it still works to push the medium forward in embracing a raw and real feminine identity.
(Article published on Sidequesting)
We’re in 1977 divided Berlin and a young girl named Patricia manically enters her psychiatrist, Dr. Klemperer’s, office. She curls into the fetal position of his chair muttering of how she was groomed to be “perfect” by the heads of the famous Markos Tans Dance Company. She twitches squirrelishly and sees eyes on everything, tossing albums and books about to avoid their all-seeing gaze. She hears voices in her head. In an Arthur Miller manic episode she shouts “Witches!” and Dr. Klemperer writes down that her psychological state is diminishing. The camera then shifts to a dying woman in rural America as Thom Yorke’s melancholic score creeps into the background. This is Suspiria (2018)– not a remake of the 1977 Argento film, but something meant to hold its own. And while it’s a horror film first, it also supplies a healthy step in the right direction for women in film as well.Continue reading “Suspiria 2018: the Nitty Gritty Rawness of Female”