Before long, there are possessed dancers, disemboweled naked women, exploding heads, and the walking incarnation of death itself - all set to a score by Thom Yorke. What begins as a quiet interface between Susie and the hideous, rotting crone that is the coven’s leader, Helena Markos, turns into a nightmare that collapses in on itself. At the Sabbath, Susie must decide whether or not she will take her place among a coven that seeks to raise one of the most powerful witches in history - Mater Suspiriorum.
But that sequence feels restrained compared to Suspiria’s grand finale, a Black Sabbath ritual that brings Susie Bannion (Dakota Johnson) eye-to-eye with the invisible force that has been silently pulling her towards the Helena Markos Dance Company in Berlin for her entire life. At two-and-a-half hours long, the amount of gore in Guadagnino’s Suspiria is actually quite small, but when the brutality is presented it comes in marathon stretches - one of which is teased in the trailer, and features a woman’s jaw being popped out of place by an unseen aggressor.
Luca Guadagnino’s remake of Suspiria is opening in limited theaters this weekend, and fans of the 1977 original film’s stylish violence will have a lot to process when they emerge.
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