Sus­piria

Pasatiempo - - ON THE COVER - Name) Sus­piria

Di­rec­tor Luca Guadagnino (I Am Love, Call Me By Your

cast his re­make of Sus­piria — set in Ber­lin in 1977, the same year Dario Ar­gento made his deliri­ous su­per­nat­u­ral fright­mare — more as a re-imag­in­ing. Guadagnino uses only the rudi­ments of the orig­i­nal story to tell an en­tirely new tale of hor­ror that plays out in six parts plus an epi­logue.

Susie Ban­nion (Dakota John­son, who is mes­mer­iz­ing ev­ery mo­ment she’s on the screen), a sweet, seem­ingly naïve Men­non­ite from Ohio, es­capes her strict re­li­gious up­bring­ing to fol­low her pas­sion for dance. She ar­rives in Ber­lin to at­tend the academy of the pres­ti­gious He­lena Markos Dance Com­pany amid the height of the Baader-Mein­hof mil­i­tant cri­sis. Be­neath her ve­neer of in­no­cence lies a fierce de­ter­mi­na­tion and in­tel­li­gence. At first, she lives a charmed life at the dance school. She rises quickly in the ranks, nail­ing the lead in the school’s sig­na­ture dance. Susie soon finds her­self be­ing groomed by the es­teemed in­struc­tor Madame Blanc (Tilda Swin­ton, in one of three roles), a witch who is vy­ing for con­trol of a coven led by the com­pany’s mys­te­ri­ous and mostly un­seen Markos (also Swin­ton, in vile pros­thetic makeup).

Susie’s ar­rival co­in­cides with the dis­ap­pear­ance of a young dancer named Pa­tri­cia (Chloë Grace Moretz), who was driven mad by the witches’ at­tempts to use her as a ves­sel for de­monic pos­ses­sion in or­der to awaken a force of cos­mic evil. The com­pany’s cover story is that Pa­tri­cia fled to join the Baader-Mein­hof Group. But Pa­tri­cia’s hum­ble psy­chi­a­trist Dr. Josef Klem­perer (Swin­ton in old man makeup), be­gins an in­ves­ti­ga­tion into her dis­ap­pear­ance, alerted to the dance school’s strange ac­tiv­i­ties by her jour­nal en­tries. These tell of three dark en­ti­ties: Mater Tene­brarum (Mother of Dark­ness), Mater Lachry­marum (Mother of Tears), and Mater Sus­piri­o­rum (Mother of Sighs) — the lat­ter of whom is the chief con­cern of the coven. The ref­er­ence is a nod to Ar­gento’s “Three Moth­ers” tril­ogy, of which the orig­i­nal was

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