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It’s a hell of a hard watch, but its utter confidence in its craftsmanship, and confidence in its ability to scare the shit out of you, is undeniable. All this amidst the historical backdrop of the German Autumn of 1977, radio and TV broadcasts spelling out a society in collapse. Perhaps the apocalypse will already get there before the witches can even complete their pagan rituals. As fun and pulpy as the giallo sheen of the Argento original can be, Guadagnino’s arthouse sophistication leads to filmmaking that is as painterly as it is petrifying. His previous works, including A Bigger Splash and Call Me by Your Name, are deeply sensitive works concerned with age, sexuality, and the appreciation of aesthetic beauty. Suspiria both leans toward and away from these instincts, Guadagnino’s visual approach fitting somewhere between the Expressionistic sensibilities of Argento and the deeply considered stateliness of his previous works. 70s-era crash zooms glide elegantly within Kubrickian wides and sensitive studies of his players’ faces. All the while, Thom Yorke ’s groaning, creaking incidental score worms its way into your lizard brain and keeps you on your toes, a highly unconventional soundtrack that is as perfect a fit for Guadagnino’s waking nightmare as Goblin’s prog-rock propulsion was to Argento. Even if the rest of the film didn’t teem with unrelenting dread, these sequences alone are liable to make your heart skip a beat. This is to say nothing of the film’s climax, a mysterious, abstracted Grand Guignol bloodbath that must be seen to be believed (if only half-understood). Johnson, like Jessica Harper before her, is initially a tabula rasa as Susie, before the film’s latter half allows her naivete to give way to a disquieting menace (not unlike her arc in Fifty Shades of Grey ). Obviously, it’s Swinton’s show through and through, her triple role offering myriad opportunities for her uniquely skeletal mystique to shine. As Madame Blanc, she’s imperious, sensitive, uniquely attuned to both Susie’s mental state and her place in the company’s fluctuating sectarian factions. As Dr. Josef Klemperer, the prosthetics never fool anyone for a second; Tilda’s unique grimace and her high-pitched rasp give away the game long before you see the plasticity of the makeup. We’re aware of the wrongness of Klemperer in every scene he’s in, an invader in a world steeped in female power. It’s confrontational and abrasive, daring its audience to endure its horrors for a glimpse into the beyond, for Guadagnino’s greater discussions of man’s cruelty and divisiveness. Its images are immediate and visceral, even as they don’t coalesce in an easily understandable manner.

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