Suspiria (2018 film)
Suspiria is a 2018 supernatural horror film directed by Luca Guadagnino with a screenplay by David Kajganich, inspired by the 1977 Italian film directed by Dario Argento. It stars Dakota Johnson as an American woman who enrolls at a prestigious dance academy in Berlin run by a coven of witches. Tilda Swinton co-stars in two roles, as the company's lead choreographer and as a male psychotherapist involved in the academy. Mia Goth, Elena Fokina, and Chloë Grace Moretz appear in supporting roles as students, while Angela Winkler, Ingrid Caven, Sylvie Testud, Renée Soutendijk, and Christine LeBoutte portray some of the academy's matrons. The star of the original film, Jessica Harper, has a cameo appearance.
|Directed by||Luca Guadagnino|
|Screenplay by||David Kajganich|
|Edited by||Walter Fasano|
|Music by||Thom Yorke|
|Box office||$7.7 million|
A remake of Suspiria was first announced in 2008 after Guadagnino had acquired the rights from the original film's writers, Dario Argento and Daria Nicolodi. Guadagnino offered the film to David Gordon Green, but that project was eventually canceled due to financing conflicts. In September 2015, Guadagnino confirmed his plans to direct, describing his version as an "homage" to the original rather than a straightforward remake. A new screenplay was drafted by Kajganich, who had written Guadagnino's A Bigger Splash the year before. Kajganich set the film during the so-called "German Autumn" of 1977 in order to explore themes of generational guilt in that country during the Cold War. The film's other themes include motherhood, evil, and the dynamics of matriarchies.
Unlike the original film, which used exaggerated colors, Guadagnino conceived the visuals in Suspiria as "winterish" and bleak, absent of primary colors. The film incorporates stylized dance sequences choreographed by Damien Jalet, which form part of its representation of witchcraft. Principal photography took place in late 2016 and early 2017 in Varese, Italy, and in Berlin. The musical score was composed by Radiohead singer Thom Yorke, who took inspiration from krautrock. The film is dedicated to the memories of Vogue Italia editor-in-chief Franca Sozzani, film director Jonathan Demme and Deborah Falzone.
Suspiria premiered at the 75th Venice International Film Festival on September 1, 2018. It was given a limited release by Amazon Studios in Los Angeles and New York on October 26, 2018, where it grossed over $180,000 in its opening weekend, marking the highest screen-average box-office launch of the year. It was screened on October 31 in some U.S. cities before opening in wide release on November 2, 2018. It was released in Italy on January 1, 2019 by Videa. The film was a box-office failure. Critical response was polarized; some praised it for its visual elements and acting, while others criticized its historical-political setting as unnecessary or arbitrary in relation to its other themes.
|2. Palaces of Tears|
|5. In the Mütterhaus (All the Floors are Darkness)|
|Epilogue: A Sliced-Up Pear|
In 1977, Susie Bannion, abused by her conservative Mennonite mother as being sin incarnate, arrives in Berlin during the height of the German Autumn to audition for the Markos Dance Academy. Her arrival coincides with the sudden disappearance of a student, Patricia Hingle, who vanished after revealing to her psychotherapist, Dr. Josef Klemperer, that the school's matrons are a coven of witches who worship the Three Mothers—a trio of witches who once roamed Earth, known as Mother Tenebrarum, Mother Lachrymarum, and Mother Suspiriorum. Susie befriends a wealthy classmate, Sara Simms, while her dancing attracts attention from artistic director and choreographer, Madame Blanc.
During a rehearsal, Patricia's friend, Olga Ivanova, accuses the matrons of being responsible for Patricia's disappearance, as well as practicing witchcraft. She attempts to flee the school, only to become trapped in a room; meanwhile, Susie performs a dance for Madame Blanc. However, Susie's movements physically inflict damage on Olga's body. The matrons find Olga's mangled body and drag her away with large hooks. They informally elect Mother Helena Markos, an aging witch who has long ruled the coven, over Blanc as the coven's leader. They conspire to use Susie as a host body for Markos. Miss Griffith, a sheepish matron, commits suicide.
Susie quickly climbs the ranks as Blanc's protégée, earning her the role of the protagonist in Volk, a much-anticipated dance performance. Meanwhile, Klemperer becomes suspicious of the matrons and seeks Sara's cooperation to look at Patricia's journals. Sara discovers a concealed corridor leading to the mütterhaus, an inner sanctum where the coven holds their rituals. She takes one of the large hooks and brings it to Klemperer as they look into Patricia's disappearance. On the opening night of Volk, Sara returns to the sanctum to find Patricia, who is in a withered condition. She is discovered by the matrons before the performance, who manifest holes in the floor, causing Sara to break her leg. Sara emerges midway through the performance, dancing her part in a hypnotic trance; Susie and Sara's eyes seemingly change colors, Sara's blue and Susie's brown. At the end, Sara collapses in pain.
While dining with the matrons to celebrate the recital, the students are put into a trance except Susie. Klemperer disposes of the hook and Patricia's belongings and returns to his dacha in East Germany, where he encounters Anke, his wife who went missing during the war. Anke reveals that she fled to Bristol after having escaped the Nazis. The couple walk together, eventually passing through the border back into West Berlin. When Anke disappears, Klemperer discovers he has been led to the academy for an impending witches' sabbath, and is ambushed by the matrons. Susie is led to the mütterhaus, where she discovers the matrons, an incapacitated Klemperer, and the entranced dancers. Sara, Patricia and Olga are disemboweled to begin the sabbath, but Blanc attempts to intervene in the ritual. Enraged, Markos attacks Blanc. Susie seemingly accepts her fate as Markos' new vessel, only to reveal herself as Mother Suspiriorum, there to cleanse the academy of the corrupt Markos and her supporters. She summons an incarnation of Death, killing Markos and her faithful followers.
Olga, Patricia and Sara die peacefully at Susie's hand as the remaining matrons and students dance. Klemperer is released in a confused state; Miss Vendegast discovers Blanc alive as Miss Boutaher announces Blanc's departure to the students. Susie, now as Mother Suspiriorum, visits Klemperer to apologise for her actions. She then reveals that Anke died at Theresienstadt after being captured by the Nazis. Before leaving, Mother Suspiriorum uses her magic powers to wipe away his traumatic memories, triggering a seizure in Klemperer. In present-day, Klemperer and Anke's initials are seen carved onto the wall of their dacha, unnoticed by its current occupants.
In a post-credits scene, Susie is in the streets of Berlin at night. She stares at something dispassionately, before reaching out her hand; she smiles and walks away.
- Dakota Johnson as Susanna "Susie" Bannion/Mother Suspiriorum
- Tilda Swinton as Madame Blanc / Mother Helena Markos / Dr. Josef Klemperer (credited as Lutz Ebersdorf for the latter)
- Mia Goth as Sara Simms
- Angela Winkler as Miss Tanner
- Ingrid Caven as Miss Vendegast
- Elena Fokina as Olga Ivanova
- Sylvie Testud as Miss Griffith
- Renée Soutendijk as Miss Huller
- Christine LeBoutte as Miss Balfour
- Małgosia Bela as Mrs. Bannion / Death
- Fabrizia Sacchi as Pavla
- Jessica Harper as Anke Meier
- Chloë Grace Moretz as Patricia Hingle
- Jessica Batut as Miss Mandel
- Alek Wek as Miss Millius
- Vincenza Modica as Miss Marks
- Vanda Capriolo as Alberta
- Brigitte Cuvelier as Miss Kaplitt
- Gala Moody as Caroline
- Anne-Lise Brevers as Sonia
- Sara Sguotti as Doll
- Halla Thordardottir as Mascia
- Olivia Ancona as Marketa
- Clementine Houdart as Miss Boutaher
- Doris Hick as Frau Sesame
- Mikael Olsson as Agent Glockner
- Fred Kelemen as Agent Albrecht
Analysis and themesEdit
The theme of motherhood is explored frequently in the film, both within the coven and in Susie's early life and relationship to her own mother. Michael Leader of Sight & Sound considers the film "an extended exercise in metafictional annotation that insists on dragging the original's darkest metaphors into the light."
Michael O'Sullivan of The Washington Post links the film's theme of motherhood (characterized alongside its "discontents" as being "chewed on like a vulture tearing at a carrion") with ethnic nationalism, though he states that "neither subtext goes much of anywhere". Julie Bloom echoed similar sentiments in The New York Times, writing that while the film "revels in gore and gruesome displays of horror... it also delves into the dynamics of a wholly female community, touching on issues of power, manipulation, motherhood and the horrible things some women can do to other women and themselves."
Matt Goldberg of Collider interprets a perfidious form of motherhood as a core theme of the film, as he notes the matrons merely pretend "to be motherly towards the students, [but] they're actually just using them for their power." Madame Blanc's near-decapitation at the hands of Mother Markos when she is resistant to beginning the sabbath demonstrates that Blanc and Markos "do not share the same values," and that Blanc has formed a genuine kinship with Susie. Hannah Ewens of Vice notes: "With coven power transferred to Susie, it's impossible to say where her talent ends and the influence of the mothers begins. Mothers aren't supposed to have favorites, but deep down they often do—and Madame Blanc's is Susie from the moment of her audition."
Abuse of power and national guiltEdit
For the majority of the film, Susie appears to be an otherwise normal woman who finds her natural talents rewarded and prized by the coven. As the film progresses into its final act, however, it is revealed that Susie is in fact Mother Suspiriorum, one of the Three Mothers whom the coven exalts. Film Crit Hulk, a pseudonymous writer for The New York Observer, interprets Susie's character arc as the discovery of her shadow self: "Initially she seems just a fresh-faced girl from Ohio, eager to make strides into this esteemed dance company. But her shadow self is soon awoken, which we are meant to fear. Susie unleashes her libido as the rapturous demon below claws at the floor. She turns deeply sexual, almost becoming carnal as she writhes to the ground." Similarly to Goldberg, they interpret Susie's unveiling of herself as Mother Suspiriorium to be messianic in nature, as she eradicates the corrupted Mother Markos and the loyal followers who idolize her. Goldberg reads Susie's destruction of Markos and her followers as retribution for their abuse of power:
Guadagnino is repeatedly hitting on a world where power has been abused, and those who feel no guilt or shame are running rampant. We see it in Klemperer's history as a Holocaust survivor; we see it in the current events that pop up in the news during the movie; and we see it inside the coven where the older women who are supposed to be teaching and helping the students are instead preying on them. The movie isn't saying that powerful women are bad; it's saying that anyone who abuses their power to their own ends rather than serving others is perverting that power.
While Susie/Mother Suspiriorum shows no mercy for Markos and her followers, Goldberg asserts that she is capable of compassion, citing the fact that she grants the physically devastated Sara, Olga, and Patricia "the sweet release of a gentle death rather than obliterating them." Goldberg extends this interpretation to Susie/Mother Suspiriorum's visit to Klemperer in the epilogue, during which she relates his lost wife's death in a concentration camp, information he had not previously known. Goldberg reads the sequence as an emphasis that "women bonding together have the power to remove the fear of death, and that while the world—especially the powerful—need "guilt" and "shame," Klemperer should not feel those things because he has not abused his power. He's the "witness" and from the perspective of witnessing a authoritarian rise to power—in his case, Nazi Germany—he is responsible for watching and doing nothing. However, it's people in power who need guilt and shame."
Some critics have alternately interpreted the representation of the coven's power as inspiring fear of women's autonomy and linking it solely with violence. Sonia Rao of The Washington Post notes that while "Guadagnino grants these women power", their power "knows no bounds. Madam Blanc... can turn Susie's dreams into bloodcurdling nightmares. She and the other matrons can inflict injuries on dancers whenever and wherever they want. The witches frequently inflict or inspire violence—their actions, after all, are what make this a horror movie. But some critics say this makes it seem like a woman with a great amount of power is someone who should be feared." The Chicago Reader's Andrea Thompson echoes this sentiment, writing that the film adopts a vision where "when women are united, it is always to achieve an evil outcome." Andrew Whalen of Newsweek conversely suggests that the film "decimat[es] typical narrative conventions of good and bad... Evil is disturbingly natural in Suspiria, where sometimes only further violence can make room for good to exist at all." Whalen characterizes the coven as "a working alternative to the patriarchy falling apart outside [the] doors—financially autonomous, beyond the reach of the police... and deeply, powerfully collectivist, both materially and spiritually."
The narrative of the coven and Susie/Mother Suspiriorum's infiltration of it is underpinned by numerous historical incidents, including the hijacking of Lufthansa Flight 181, bombings, and numerous kidnappings perpetrated by the Red Army Faction, a Marxist group whose peak activity occurred in the autumn of 1977 in West Germany. These events occurred in the wake of Vergangenheitsbewältigung, a period referring to Germany's national reflection on their culpability in World War II and the Holocaust, which "echoes constantly throughout" the film. While Goldberg has pointed out correlations between the coven's innerworkings and the national events occurring outside of it, others, such as Simon Abrams of The Hollywood Reporter, view them as "surface-level parallels between historic signifiers" that "have the odd effect of subordinating those female-centered themes to a blandly familiar grab bag of sensationalistic headlines." Abrams concludes that the film offers "an underdeveloped, pseudo-Jungian understanding of how historical events kinda/sorta overshadow their protagonists' lives."
A remake of Suspiria (1977) was announced in 2008 by director David Gordon Green, who had co-written a script with his sound designer. In 2007, Luca Guadagnino had convinced the original film's creators Dario Argento and Daria Nicolodi to allow him to option a remake of the film. Guadagnino subsequently offered the project to Green, who cast Isabelle Huppert, Janet McTeer, and Isabelle Fuhrman. Green described his screenplay as "operatic", adding, "I love Argento's film and we wrote a very faithful, extremely elegant opera ... I don't mean musical opera, but it would be incredibly heightened music, and heightened and very operatic and elegant sets." According to Green, financing conflicts resulted in the project being scrapped.
In September 2015, at the 72nd Venice Film Festival, Guadagnino announced plans to direct a "remake" of Suspiria with the four main actors of his film A Bigger Splash, which had premiered at the festival. Guadagnino revealed that his version was to be set in Berlin circa 1977, and would have as its main theme "the uncompromising force of motherhood". Guadagnino has since said explicitly that the film is not a remake, but is instead an "homage" to the "powerful emotion" he felt when he first watched the original film:
I was so terrified, but as always with something that terrifies you, I was completely pulled in. I think the process of how that movie influenced my psyche probably has yet to stop, which is something that happens often when you bump into a serious work of art like Suspiria. I think the movie I made, in a way, [represents] some of the layers of [my] upbringing, watching the movie for the first time and thinking of it and being obsessed by it.
The screenplay was written by American writer David Kajganich, who had previously written Guadagnino's A Bigger Splash, and developed the British television series The Terror. Though Kajganich admitted to not being a fan of the original film, he agreed to write a screenplay for Guadagnino. On writing the film, Kajganich stated:
Horror often loses me when it starts to no longer regard real people in a real world. And so, I said to Luca when he asked me would I ever be interested in joining him in this, I did say 'I will take quite a practical approach if you're okay with that. I would want to know how something like this could happen, how it would work, what the hierarchy of the coven would be, you know, all of those practical questions that normally aren't maybe of interest to a typical horror film, whatever that is,' and he was all for it. And so, I did quite a lot of research and to actual witchcraft and covens and we did quite a lot of research into the period that it's set in, what was going on in feminist politics and feminist art then, and how were concerns being exploited from the inside out and how that might look inside of the context of the occult. And so, you know, we did try to ground it and how real people in these fantastical situations might behave.
Kajganich chose to set the film in Berlin in 1977—the year the original film was released—during the series of terrorist events known as the "German Autumn". The film begins shortly after the hijacking of Lufthansa Flight 181, in order to hint at "larger thematic concerns," specifically the response of the youth of the era to the denial by their parents' and grandparents' generations of German culpability in World War II. Kajganich used the political tumult of the time as a means of contextualizing the central plot surrounding the Markos dance academy, "where an American is getting her education in a way in how a modern kind of fascism might look." For inspiration, Kajganich studied women's literature of the period, as well as the films of German contemporary filmmaker Rainer Werner Fassbinder, and "listened to a lot of [German singer] Nico".
Guadagnino was mostly interested in the witchcraft and solidarity among women aspects of Kajganich's script, themes which he said have been "perverted by the official history and the official religions as making a bargain with the devil. The witchcraft that I'm interested in also has a lot to do with what, psychoanalytically, is called the concept of the terrible mother, which you can see also in some religions, particularly in the Kali goddess." Retaining the dance academy locale, Kajganich proposed that the witches would transmit their spells via movement: "It makes total sense why a coven would hide in a dance company, because they could wield their influence in public ways, without the public realizing." Kajganich pitched this concept to Guadagnino early on, and shaped the screenplay using dance as a narrative through-line. Guadagnino was also enthusiastic in response to Kajganich's setting of the film, remarking: "Dario's movie was a sort of self-contained box of fleshy delicacies, which was not in relationship with the moment it was made. It was too much of an opportunity for me and David to actually say, 'It's 1977 – deal with it, let's make it the center of the story.'"
On November 23, 2015, Guadagnino confirmed that Tilda Swinton and Dakota Johnson had been cast in the film and that shooting was scheduled to begin in August 2016, with release set for 2017. Johnson was asked to play the part of Susie Bannion while filming Guadagnino's A Bigger Splash (2015). After watching the original film, Johnson agreed to commit to the project. "I was obviously really invested—really invested in Luca as a person, collaborator, artist," Johnson said. "You just want to go on any adventure with him."
Swinton, a friend and frequent collaborator of Guadagnino who had also co-starred in A Bigger Splash, was cast in three roles: Madame Blanc, the lead choreographer of the academy; Helena Markos, its decrepit matron; and Dr. Josef Klemperer, a psychologist who becomes embroiled in the coven. In the part of Klemperer, Swinton is credited as "Lutz Ebersdorf". Swinton stated that she modeled her portrayal of Madame Blanc after Martha Graham and Pina Bausch, who she felt embodied "the shape Madame Blanc cuts — her silhouette, her barefoot rootedness, the precise choreography of her relationship with cigarette after cigarette."
In October 2016, Chloë Grace Moretz was cast as Patricia Hingle, a student who goes missing from the academy, while Mia Goth was cast as Sara, another one of the academy's dancers. Moretz commented on her participation in the film: "It's unlike any other directing process I have ever been a part of... Luca is Luca and there's kind of no mistaking it for anything else. He'll let you do the craziest stuff on screen and won't bat an eye, he'll tell you to go farther."
Also cast were European actresses Sylvie Testud, Angela Winkler, Fabrizia Sacchi, and Renée Soutendijk, each as matrons of the academy. Fashion models Małgosia Bela and Alek Wek appear in their feature film debuts as Susie's mother and another of the academy matrons, respectively. Jessica Harper, who played Suzy Bannion in the original film, also joined the cast as Anke Meier, the wife of Klemperer who disappeared during the Nazi invasion. Harper was asked to appear in the cameo by Guadaganino, but under the provision that she would be able to perform in German. To prepare, she took German classes at a Berlitz school.
The role of Dr. Josef Klemperer is portrayed by Swinton, although it is credited as played by an actor named Lutz Ebersdorf in the film and its promotional material, and the filmmakers maintained that Ebersdorf was a real psychoanalyst until a month after the film's premiere.
In March 2017, photographs of a seemingly old man spotted on the film's set were published online, identifying the man as Swinton in heavy prosthetic makeup. In February 2018, Guadagnino called the claim "complete fake news", saying that the man was not Swinton but in fact a German actor named Lutz Ebersdorf in his screen debut, who plays a psychoanalyst named Josef Klemperer in the film and is a psychoanalyst himself. IndieWire questioned the veracity of Guadagnino's statement because of Ebersdorf's suspicious IMDb profile and otherwise lack of online presence. The film's casting director and executive producer Stella Savino responded to IndieWire, saying, "the character of Dr. Klemperer has been played by Professor Lutz Ebersdorf, a psychoanalyst and not at all a professional actor." During a press conference following the film's September 1, 2018 premiere at Venice, Swinton read a letter purportedly written from Ebersdorf in lieu of his presence, which read: "I am a private individual who prefers to remain private ... Though I strongly suspect Suspiria will be the only film I ever appear in, I like the work, and I do not mind getting up very early."
Writing for Vanity Fair, Joanna Robinson reported that when the film screened at Fantastic Fest in Austin, Texas, on September 23, 2018, the audience was certain that the role of Klemperer was played by Swinton. Robinson speculated that the filmmakers wrote the role and cast Swinton in order for the film to have both an outsider's perspective and a narrative of female power. By September 2018, IMDb had deleted Ebersdorf's profile and credited Swinton as playing Klemperer under the alias "Lutz Ebersdorf".
In October 2018, Swinton told The New York Times that Dr. Klemperer was played by Lutz Ebersdorf and Ebersdorf was played by her. When asked why she played Ebersdorf, she said, "for the sheer sake of fun above all... The intention was never to fool anybody. The genius of [makeup artist] Mark Coulier notwithstanding, it was always our design that there would be something unresolved about the identity of the performance of Klemperer." Swinton asked the makeup department to make a prosthetic penis, which she wore during filming. Swinton wrote Ebersdorf's IMDb biography herself. Guadagnino stated in a subsequent interview in Vulture that several of the actors in the film believed Ebersdorf to be a real person, specifically Ingrid Caven, who was unaware it was Swinton in disguise until after filming wrapped.
Locations and designEdit
While some filming took place at the Palazzo Estense in December 2016, the central shooting location was the Grand Hotel Campo dei Fiori in Varese, Italy, which served as the Markos Dance Academy. While in the film the hotel appears to be positioned in West Berlin along the Berlin Wall, the actual location of the building is on a remote mountaintop overlooking Varese.
Inbal Weinberg, the film's production designer, commented: "When we arrived in Italy, we went to scout for alternative places, because this was logistically going to be almost a nightmare... the hotel had so much going for it." Weinberg dressed the Grand Hotel Campo dei Fiori's interiors with dressings and furniture from various decades to give it an "intentionally out-of-time feeling." German Bauhaus geometric designs were used for certain interiors, such as the carpets of Madame Blanc's apartment, while Modernist architecture served as a constant reference point. The Frankfurt kitchen, a mass-produced fitted kitchen introduced in 1926, was the basis for the matrons' kitchen design, as well as the Sonneveld House in Rotterdam. In designing the dancers' dormitories, Weinberg dressed them with posters from contemporaneous underground bands, and "plasticky" furnishings from the 1970s. Costume designer Giulia Piersanti selected vintage clothing from the period that was "colorful, but not necessarily bright." Many of the costumes in the film were purchased from a used clothing warehouse in Prato, Italy.
For the film's climactic sabbath scene, the production used a loggia in the hotel, filling in its arches which were then meticulously covered with braided hair. "It was Luca's idea to use hair," said Weinberg. "We conceptually decided that the texture of the wall is the hair of victims." The process of weaving the artificial hair took the design crew weeks to complete.
Principal photography began at the Grand Hotel Campo dei Fiori in Varese on October 31, 2016, with a production budget of $20 million. The shoot lasted approximately two months, concluding in December 2016, while the remainder of principal photography was finished in early 2017, concluding in Berlin on March 10, 2017. Approximately two weeks were spent in Berlin, during which filming of the street and U-Bahn sequences took place, as well as those occurring at the police station, which was shot in an abandoned office building in Mitte. The scenes of Klemperer at his dacha were shot in suburban Berlin.
The filming conditions at the Grand Hotel Campo dei Fiori were described as uncomfortable by the cast and crew, as the film was shot in the winter months and the hotel was inefficiently heated with gasoline space heaters. The hotel, which had been abandoned for several decades, had been adorned with cellular towers on the rooftop; Guadagnino recalled a "constant signal coming from the antennas that made all of us very weak and tired," while Johnson stated "there was electricity pulsating through the building, and everyone was shocking each other." She retrospectively commented that the filming process "fucked me up so much that I had to go to therapy". She later expanded on this statement, saying that the filming process "was not traumatic" and instead "the most fun and the most exhilarating and the most joyful that it could be... [but] when you're working sometimes with dark subject matter, it can stay with you and then to talk to somebody really nice about it afterwards is a really nice way to move on from the project." Harper, who worked on the film for only several days but was present during portions of the shoot, likened the locale to a "haunted house... It was cold and dark and scary... which was kind of appropriate, but not ideal shooting circumstances." The production's first assistant director broke his leg early into the shoot after falling on one of the sets.
Like its predecessor, Suspiria was shot on 35mm film stock. Cinematographer Sayombhu Mukdeeprom, who had previously worked on Guadagnino's Call Me by Your Name (2017), shot the film exclusively on Kodak Vision3 500T 5219, without correction filters. To achieve a 1970s-style effect, the film uses slow motion and numerous camera zooms typical of the period, including recurrent use of snap zooms.
In contrast to the original, Guadagnino's film uses primary colors sparingly. He described the film's look as "winter-ish, evil, and really dark." According to Guadagnino, the decision not to use primary colors was made in accordance with the film's bleak setting amidst Germany on "the verge of a civil war". Rather than using lavish color like Argento did in his original film, Guadagnino stated he and Mukdeeprom "went for a different take. Dario Argento and let's face it, Luciano Tovoli, his wonderful D.P., they decided to go for an extremely expressionistic way of decoding horror, which started from the work of Mario Bava. The way in which they made those colors — not just simple gels in front of lights, they were using velvet and they were really sculpting the light — [that] has influenced filmmakers for so long. I think everything that could have been said through that style has been said."
In opting for a more muted color palette, the filmmakers used cinematographer Michael Ballhaus's work in the films of Rainer Fassbinder as reference points, as well as the work of modernist artist Balthus, which Guadagnino felt "created such uncanny eeriness and fear". The compositions, costumes, and set design were all crafted with this in mind, and prominently feature browns, blacks, blues, and greens.
Makeup artist Mark Coulier, who had previously worked on several Clive Barker film adaptations such as Nightbreed (1990) and Candyman (1992), served as the film's makeup effects coordinator. The bulk of the special effects featured in the film were achieved via practical methods. According to Coulier, the death sequence of Olga, and the final sabbath scene were the most demanding in regard to special effects. For the former, a prosthetic arm, leg, broken ribs, and a protruding dental cast were created for actress Elena Fokina (Olga), allowing her to appear as though the bones in her limbs, abdomen, and jaw were being crushed and broken. Fokina, a professional dancer and contortionist, achieved the majority of the contortions herself, while her actual arm and leg were removed from the footage in post-production via digital processing. In conceiving Olga's broken arm, Coulier was inspired by a stunt performed by Ronny Cox in Deliverance (1972), in which he dislocated his own shoulder in the film.
The witches' sabbath that serves as the climax of the film was technically complicated due to Swinton's portrayal of three roles, each of which required their own unique and extensive makeup effects, as well as full-body prosthetics. Additional prosthetics were created to achieve the disfigured appearance of Patricia, as well as the disembowelment of Sara. "We had so many other makeup effects and full-body prosthetics going on," Coulier recalled. "We had Chloë Moretz in her dead-Patricia makeup, we had the intestines being pulled out, we had all sorts of stuff. It was a big challenge, and we had about 20 people on set, all applying makeups for that long sequence." The wound which Susie tears open on her chest in the climax was also achieved with prosthetics, though it was digitally enhanced in post-production.
Unlike the original film, which, though set at a ballet academy, featured very little on-screen dancing, Guadagnino's Suspiria uses dance as a key plot device. Congruous to the period in which it is set, contemporary dance was a central influence on the dance style depicted in the film. Kajganich commented that German expressionist dancers Mary Wigman and Pina Bausch were specific influences on his conceptualization of the dance routines. While writing the screenplay, Kajganich shadowed choreographer and dancer Sasha Waltz to gain further insight into the technicalities of the profession. The work of Isadora Duncan was also an influence.
Damien Jalet choreographed the elaborate dance sequences in the film. Guadagnino hired him after seeing a live performance of Jalet's Les Médusées (transl. "The bewitched"), at the Louvre. Incidentally, Jalet had drawn inspiration from Argento's Suspiria when choreographing Les Médusées. Jalet subsequently used Les Médusées as the basis for the film's six-minute climactic dance sequence called "Volk". For the last sabbath scene, Jalet said :"We wanted to go from something pretty technical, mathematical, with a certain sense of elegance to something where the body becomes wilder and more and more distorted,” Jalet commented. "The scene described something very chaotic, but I felt we needed to create something still very ritualized." Indonesian dance also served as a reference point for the sequence, which features movements that are "staccato, with harsh stops and starts, and an arm styling that is both intimate—in moments when the dancers hold on to each other—and harshly linear."
Aside from Johnson and Goth, all of the actresses in the on-screen dance scenes were professional dancers. Johnson trained extensively in the year leading up to the shoot to achieve the body type and technique of a dancer, spending two hours each day training at a dance studio in Vancouver while filming Fifty Shades Freed (2018). She trained in various forms of dance ranging from ballet to contemporary dance, as her character is that of a formally untrained, yet broadly proficient, dancer. Johnson also studied the work of Wigman, and listened to various musical acts of the 1970s, such as The Carpenters, Jefferson Airplane, and Nina Simone, artists she felt would have informed her character's instinctive movements. In the early autumn of 2016, roughly two months before the shoot began, both Johnson and Goth began rehearsing the film's choreography on location in Varese for six to eight hours per day.
Radiohead singer Thom Yorke composed the score, his first feature film soundtrack. It features the London Contemporary Orchestra and Choir and Yorke's son Noah on drums. He initially refused the offer, but accepted after months of requests from Guadagnino. Much of the score was completed prior to the film shoot, giving Guadagnino the opportunity to play it on set during filming.
Yorke cited inspiration from the 1982 Blade Runner soundtrack, musique concrète artists such as Pierre Henry, modern electronic artists such as James Holden, and music from the film's 1977 Berlin setting, such as krautrock. He said: "There's a way of repeating in music that can hypnotise. I kept thinking to myself that it's a form of making spells. So when I was working in my studio I was making spells. I know it sounds really stupid, but that's how I was thinking about it." The soundtrack was released on October 26, 2018 by XL Records.
In promotion for the film, a scene was screened during a luncheon at the 2018 CinemaCon in Las Vegas, Nevada, in April 2018. It was reported that the footage was so intense it "traumatized" those present. The scene presented was that in which Olga is contorted and mangled via movements made during Susie's improvisational dance. Peter Sciretta of SlashFilm described the scene as "very gruesome and hard to watch. This film will make most people feel uneasy." In May 2018, Videa acquired Italian distribution rights to the film.
Suspiria held its world premiere at the 75th Venice International Film Festival on September 1, 2018. It opened in a limited release in Los Angeles and New York on October 26, 2018. Guadagnino held an exclusive Q&A session during the film's opening weekend in Los Angeles. Limited screenings began on Halloween night in various U.S. cities, including Dallas, Denver, Portland, San Francisco, Seattle, Springfield, and Tempe. The U.S. release expanded to a total of 311 screens on November 2, 2018. It was released in the United Kingdom by Mubi on November 16, 2018. It was released in Italy on January 1, 2019.
Suspiria was released in the United States on digital platforms on January 15, 2019, and on Blu-ray on January 29, through Lionsgate. The digital and Blu-ray releases include three behind-the-scenes featurettes. As of July 2019[update], the film has made $1.1 million in Blu-ray sales.
Suspiria grossed a total of $179,806 during its opening weekend playing at the ArcLight Hollywood and Regal Union Square in Los Angeles and New York, respectively. This marked an average of $89,903 per screen, the highest screen-average box office launch of the year. Upon its expansion the following week, the film grossed $964,722 between November 2 and November 4, ranking number 19 at the U.S. box office. The film had closed on December 20 after it grossed $5,169,833 internationally, and $2,483,472 in the United States, making for a worldwide gross of $7,653,305. In 2020, Guadagnino said Suspiria had "made absolutely nothing. It was a disaster at the box office."
The critical responses to Suspiria were strongly polarized upon its release. Peter Travers of Rolling Stone stressed that "polarizing" served as "too tame a word" to describe the reactions to the film. On review aggregator Rotten Tomatoes, the film has an approval rating of 65% based on 325 reviews, with an average rating of 6.90/10. The website's critical consensus reads, "Suspiria attacks heady themes with garish vigor, offering a viewing experience that's daringly confrontational—and definitely not for everyone." On Metacritic, the film has an average weighted score of 64 out of 100, based on 56 critics, indicating "generally favorable reviews".
"Guadagnino, who has said he wanted to remake Suspiria since he first saw it more than 30 years ago, signals both his reverence and his seriousness by departing from it in every way imaginable — visually, sonically, dramatically, emotionally."
–Justin Chang of the Los Angeles Times
Commenting on the horror elements of the film, Andrew Whalen of Newsweek deemed it "a powerful and dread-inducing experience even before it reveals itself to be not just an arthouse exploration of a horror aesthetic." He also compared the body horror in the film to that of the works of David Cronenberg. Like Whalen, Kristen Kim of The Nation observed similar elements, and wrote that it took "the body horror of the original to an unsightly new level. If the blood runs pretty in the old Suspiria, it's urine here that trickles down the legs of a painfully contorted ballerina." Writing in Variety, Owen Gleiberman compared certain visual elements of the film to The Exorcist (1973) and summarized it as a "gory but imperiously lofty matriarchal horror film", though he noted that the film would have benefitted from more shocks. The Boston Globe's Ty Burr described the film's finale as "Lovecraftian" but concluded that it "mostly leaves behind is an acrid taste of having experienced something stylish but unfulfilling."
The Los Angeles Times's Justin Chang felt that the reimagining of witchcraft is "boldly absurd" and concluded: "By the time the phantasmagorical finale arrives, you are flooded with blood and viscera, yes, but also something even more unsettling — a sudden onrush of feeling, a deep, overpowering melancholy. It's the most startling of the movie's transfigurations, and it returns us to the primordial theme of motherhood." Anthony Lane of The New Yorker wrote a favorable review of the film, concluding: "The first time I saw Guadagnino's Suspiria, I came out pretty much covered in gore, and confounded by the surfeit of stories. Can a splash be so big that it drowns the senses? How does such a film cohere? The second time around, I followed the flow, and found that what it led to was not terror, or disgust, but an unexpected sadness." David Ehrlich, who gave the film an A-, commented in IndieWire that "Suspiria is a film of rare and unfettered madness, and it leaves behind a scalding message that's written in pain and blood: The future will be a nightmare if we can't take responsibility for the past." Slant Magazine's Greg Cwik praised the cinematography, but expressed disappointment for what he felt was a lack of cohesion: "Suspiria is a largely befuddling accumulation of shots and sounds that never coalesce."
The film's length and pacing were noted by several critics who had varying opinions: David Rooney of The Hollywood Reporter criticized the film for being "unnecessarily drawn out" with "too many discursive shifts to build much tension," while Peter Bradshaw of The Guardian described it as "more an MA thesis than a remake... determinedly upscale and uppermiddlebrow, with indigestible new layers of historical meaning added." Manohla Dargis of The New York Times criticised the pacing and runtime, writing: "As the first hour of Suspiria grinds into the second and beyond (the movie runs 152 minutes), it grows ever more distended and yet more hollow. Unlike Argento, who seemed content to deliver a nastily updated fairy tale in 90 or so minutes, Guadagnino continues casting about for meaning, which perhaps explains why he keeps adding more stuff, more mayhem, more dances." Telegraph critic Robbie Collin, however, praised the film for being a "slow burner," awarding it five out of five and stating that he considered it a better film than the original. Chris Klimek of NPR alternately deemed the film "a confounding and often punishing experience... simply keeping up with the plot, despite its pokey pace, is ultimately exhausting." William Bibbiani of IGN echoed this sentiment, summarizing the film as "an interesting intellectual exercise, too ambitious to be ignored yet too overbearing to be enjoyed." Travers conceded that "Guadagnino's reach far exceeds his grasp," but concluded: "to watch him excavate evil to find a sorrowful truth is something you won't want to miss."
"Guadagnino is so busy directing a movie about women in the abstract, witchcraft in the abstract, dance in the abstract, terrorism in the abstract, the Holocaust in the abstract, Berlin and Germany in the abstract, that he doesn't see the people, the places, the characters that he's filming. His camera sees nothing."
Numerous critics commented on the themes of German history and the Holocaust. Brian Truitt of USA Today wrote that the subtext and subplots were "bound to alienate some," but that "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," while Stephanie Zacharek of Time criticised the political backdrop as "an extra layer of needless complication." This sentiment was reiterated by Richard Brody, writing for The New Yorker, who felt that the filmmakers "shoehorn the Holocaust into the film with a conspicuously effortful shove... The movie has nothing to say about women's history, feminist politics, civil violence, the Holocaust, the Cold War, or German culture. Instead, Guadagnino thrusts some thusly labelled trinkets at viewers and suggests that they try to assemble them. The result is sordid, flimsy Holocaust kitsch, fanatical chic, with all the actual political substance of a designer Che T-shirt."
Commenting on the performances of the cast, Kim Selling and Joule Zelman of The Stranger praised that of Swinton, but deemed Johnson miscast in the role of Susie, while Chang noted Swinton's performance as "one of her more restrained". Michael O'Sullivan of The Washington Post alternately considered Swinton's performance a "tour-de-force". Klimek praised the performances of all involved, while Ehrlich found Johnson's performance "thrillingly unrepentant". Truitt noted that Johnson "navigates [her role] with grace, and... captures just the right physicality in the various modern dances that ground the movie with a primordial weight and sexual energy." Sandy Schaefer of Screen Rant described Johnson's performance as "engaging" and Goth as "equally strong".
The film's elaborate dance sequences were largely praised by critics. Gleiberman praised the dances, writing that they have "so much snap and thrust and rhythm you might call it an art-conscious cousin of the pop choreography of Bob Fosse... the movement is even more jutting and explosive, but it erupts from the women's souls." The New York Times stated in an article about the film's choreography: "finally, a film that gets dance right", while BBC reviewer Nicholas Barber says "the company's choreography is woven into the story. It's all deeply impressive." Alonso Duralde of TheWrap, however, negatively compared them to the dance sequences in Showgirls (1995) and Lost Horizon (1973), deeming the sequences "unintentionally hilarious pieces of choreography. The ludicrous terpsichorean display isn't helped by the costuming; the dancers all wear bright-red ropes tied in what appear to be Japanese Shibari bondage knots." Burr alternately praised the choreography, describing it as "propulsive... and ripe with the sight and sounds of exploding body parts."
Argento panned the film, stating that "it did not excite me, it betrayed the spirit of the original film: there is no fear, there is no music. The film [underwhelmed] me", but he did call the film's design "beautiful".
On September 27, 2018, it was reported that the film's American distributor, Amazon Studios, was being sued for copyright infringement by the estate of artist Ana Mendieta. The suit, filed in a federal court in Seattle, Washington, alleged that two images present in the film's teaser trailer were plagiarized from Mendieta's work. The first is an image of a woman's hands bound with rope on a white table, allegedly derived from Mendieta's Untitled (Rape Scene), and the other is the red silhouette of a body imprinted on a bedsheet, which was claimed to have been derived from her Silueta series. A cease-and-desist letter had been delivered to Amazon in July over the images, and they were not included in the subsequent theatrical trailer released the following month. According to the suit, both images had been excised from the film, but an alleged eight others bore notable similarities to other works by Mendieta. On October 24, 2018, two days before the film's U.S. release, it was reported that Amazon Studios and the Mendieta estate had reached an undisclosed settlement.
|Award/association||Date of ceremony||Category||Recipient(s) and nominee(s)||Result||Ref.|
|Venice Film Festival||September 8, 2018||Golden Lion||Luca Guadagnino||Nominated|||
|Queer Lion||Luca Guadagnino||Nominated|||
|Premio Soundtrack Stars for Best Original Song||"Suspirium" by Thom Yorke||Won|||
|La Pellicola d'Oro Award for Special Effects||Franco Ragusa||Won|||
|Independent Spirit Awards||February 23, 2019||Best Cinematography||Sayombhu Mukdeeprom||Won|||
|Robert Altman Award||Luca Guadagnino, Avy Kaufman, Stella Savino, Małgosia Bela, Ingrid Caven, Elena Fokina, Mia Goth, Jessica Harper, Dakota Johnson, Gala Moody, Chloë Grace Moretz, Renée Soutendijk, Tilda Swinton, Sylvie Testud and Angela Winkler||Won|||
|Washington D.C. Area Film Critics Association||December 3, 2018||Best Original Score||Thom Yorke||Nominated|||
|Chicago Film Critics Association||December 8, 2018||Nominated|||
|Los Angeles Online Film Critics Society||December 7, 2018||Best Sci-Fi/Horror Film||Suspiria||Nominated|||
|Indiana Film Journalists Association||December 17, 2018||Best Picture||Runner-up|||
|Best Adapted Screenplay||David Kajganich||Runner-up|
|Best Director||Luca Guadagnino||Runner-up|
|Best Actress||Dakota Johnson||Runner-up|
|Best Supporting Actress||Tilda Swinton||Runner-up|
|Best Musical Score||Thom Yorke||Won|||
|Philadelphia Film Critics Circle||December 9, 2018||Best Score/Soundtrack||Won|||
|New Mexico Film Critics Association||Best Original Song||"Suspirium" by Thom Yorke||Won|||
|Seattle Film Critics Society||December 17, 2018||Best Costume Design||Giulia Piersanti||Nominated|||
|Critics' Choice Awards||January 13, 2019||Best Sci-Fi or Horror Movie||Nominated|||
|Best Hair and Makeup||Nominated|
|Phoenix Critics Circle Awards||December 15, 2018||Best Horror Film||Nominated|||
|Best Score||Thom Yorke||Nominated|
|Las Vegas Film Critics Society Awards||December 14, 2018||Won|||
|Houston Film Critics Society Awards||January 3, 2018||Nominated|||
|Music City Film Critics Association Awards||January 10, 2019||Best Horror Film||Nominated|||
|Austin Film Critics Association Awards||January 7, 2019||Best Film||Nominated|||
|Best Score||Thom Yorke||Nominated|
|Fright Meter Awards||December 20, 2018||Best Cinematography||Sayombhu Mukdeeprom||2nd Place|||
|Best Costume Design||Giulia Piersanti||Won|
|Best Director||Luca Guadagnino||Nominated|
|Best Make Up||Suspiria||Won|
|Best Screenplay||David Kajganich||Nominated|
|Best Supporting Actress||Tilda Swinton||Won|
|Capri Awards||January 2, 2019||Producer of The Year||Bradley J. Fischer (for Suspiria and other films)||Won|||
|Online Film Critics Society Awards||Best Score||Thom Yorke||Nominated|||
|Dorian Awards||January 8, 2019||Campy Flick of the Year||Suspiria||Nominated|||
|Awards Circuit Community Awards||January 10, 2019||Best Makeup and Hairstyling||Mark Coulier, Fernanda Perez & Manola Garcia||Nominated|||
|Georgia Film Critics Association Awards||January 12, 2019||Best Original Song||"Suspirium" by Thom Yorke||Nominated|||
|London Critics Circle Film Awards||January 20, 2019||Technical Achievement of the Year||Thom Yorke (music)||Nominated|||
|Chicago Indie Critics||February 2, 2019||Best Costume Design & Make-Up||Giulia Piersanti (costumes), Fernanda Perez (makeup)||Nominated|||
|International Cinephile Society Awards||February 3, 2019||Best Score||Suspiria||Nominated|||
|Fangoria Awards||February 25, 2019||Best Limited Release Movie||Nominated|||
|Best Supporting Actress||Tilda Swinton||Won|
|Best Score||Thom Yorke||Nominated|
|Best Makeup FX||Mark Couiler||Won|
|Grammy Awards||January 26, 2020||Best Song Written for Visual Media||"Suspirium" by Thom Yorke||Nominated|||
Surpiria had the working title of Suspiria: Part One, with Guadagnino and Kajganich conceiving it as the first half of a bigger story. They planned Part Two to explore the origins of Madame Blanc and Helena Markos and the future of Suzy Bannion. The subtitle was dropped so that Suspiria would be thought of as a standalone work.
Guadagnino said he would be interested in developing Part Two if the film were a commercial success. He expressed interest in making a prequel about Markos, set hundreds of years before the first film, saying, "I have this image in my mind of Helena Markos in solitude in the year 1212 in Scotland or in Spain. Wandering through a village and trying to find a way on how she can manipulate the women of the village. I know she was there. I know it was six to seven hundred years before the actual storyline of this film."
In 2020, Guadagnino said a sequel was impossible, as Suspiria had been "a disaster at the box office".
- "Suspiria". Venice International Film Festival 2018. Archived from the original on October 20, 2018.
- "Suspiria". British Board of Film Classification. Archived from the original on October 20, 2018.
- "Suspiria (2018)". Box Office Mojo. Archived from the original on November 3, 2018.
- Anderson, Ariston (August 27, 2018). "'Suspiria' Director Luca Guadagnino Hopes Horror Remake "Comes Across as Relentless"". The Hollywood Reporter. Archived from the original on August 30, 2018.
- Leader, Michael (September 6, 2018). "Suspiria first look: Luca Guadagnino makes heavy weather of Argento's horror". Sight & Sound. ISSN 0037-4806. Archived from the original on September 20, 2018.
- O'Sullivan, Michael (October 31, 2018). "'Suspiria' is a beautiful mess and stars Tilda Swinton in three roles and don't ask us what it means". The Washington Post. Archived from the original on November 1, 2018.
- Bloom, Julie (October 26, 2018). "'Suspiria' Then and Now: Finding Darkness in an All-Female World". The New York Times. Archived from the original on October 28, 2018.
- Goldberg, Matt (November 2, 2018). "Suspiria Ending Explained: Let's Talk about That Bonkers Conclusion". Collider. Archived from the original on November 3, 2018.
- Ewens, Hannah (October 24, 2018). "The 'Suspiria' Remake Recognizes the Terrifying Power of Mothers". Vice. Archived from the original on November 2, 2018.
- Film Crit Hulk (October 31, 2018). "The Shadows of Guilt That Haunt 'Suspiria' Are All Too Timely". The New York Observer. ISSN 1052-2948. Archived from the original on November 1, 2018.
- Brody, Richard (October 30, 2018). "Review: Luca Guadagnino's "Suspiria" Is the Cinematic Equivalent of a Designer Che T-Shirt". The New Yorker. Archived from the original on October 31, 2018.
- Rao, Sonia (November 2, 2018). "What exactly is 'Suspiria' trying to say about witches and feminism? We break it down for you". The Washington Post. Archived from the original on November 3, 2018.
- Thompson, Andrea (October 30, 2018). "The new Suspiria manages to be about women's power without being feminist". Chicago Reader. ISSN 1096-6919. Archived from the original on November 4, 2018.
- Whalen, Andrew (October 25, 2018). "'Suspiria' Rips Apart Flesh and Society, Horror Will Never Be the Same Again". Newsweek. ISSN 0028-9604. Archived from the original on November 4, 2018.
- Jones, Nate (October 30, 2018). "A Germany History Primer for the Confused Suspiria Viewer". Vulture. Archived from the original on October 30, 2018.
- Steinberg, Don (October 27, 2018). "Why Director Luca Guadagnino Chose the Path of Horror". The Wall Street Journal. ISSN 0099-9660. Archived from the original on October 27, 2018.
- Hertz, Barry (October 31, 2018). "Review: Luca Guadagnino's Suspiria spills its guts with glee". The Globe and Mail. Toronto, Ontario. ISSN 0319-0714. Archived from the original on November 2, 2018.
- Abrams, Simon (November 3, 2018). "What Is 'Suspiria' Trying to Say?". The Hollywood Reporter. Archived from the original on November 4, 2018.
- Bibbiani, William (June 23, 2015). "Exclusive: The 'Suspiria' Remake Isn't Dead After All". Mandatory. Archived from the original on October 19, 2018.
- Del Signore, John (July 15, 2008). "David Gordon Green, Filmmaker". Gothamist. Archived from the original on November 6, 2017.
- Guadagnino, Luca (October 19, 2018). "Director Luca Guadagnino Discusses "Suspiria"". AOL Build (Interview). Interviewed by Ricky Camilleri. Archived from the original on January 6, 2019. Retrieved October 20, 2018.
- Jagernauth, Kenneth (June 24, 2015). "David Gordon Green Says 'Suspiria' Would've Been "Operatic," Remake Still Happening But He Won't Direct". IndieWire. Archived from the original on December 29, 2016.
- Vivarelli, Nick (September 6, 2015). "Luca Guadagnino Talks Making 'Splash,' Next Is 'Suspiria' Redo". Variety. Archived from the original on June 12, 2018.
- Newman, Nick (September 9, 2015). "Luca Guadagnino to Reunite 'A Bigger Splash' Cast In 'Suspiria' Remake". The Film Stage. Archived from the original on November 17, 2015.
- Mumford, Gwilym (December 22, 2017). "Luca Guadagnino on Call Me By Your Name: 'It's a step inside my teenage dreams'". The Guardian. Archived from the original on December 22, 2017. Retrieved May 27, 2018.
- Aftab, Kaleem (September 2, 2018). "Review: Suspiria". Cineuropa. Archived from the original on October 27, 2018.
- Hazelton, John (March 20, 2018). "'Suspiria' screenwriter David Kajganich on his showrunning debut 'The Terror'". Screen Daily. Archived from the original on August 24, 2018.
- Yamato, Jen (September 2, 2018). "Striking horror anew". Los Angeles Times. Los Angeles, California. p. E10. Archived from the original on October 20, 2018. Retrieved October 19, 2018 – via Newspapers.com.
- Navarro, Meagan (October 9, 2018). "Actress Jessica Harper and Writer David Kajganich Cast Spells in 'Suspiria'". Bloody Disgusting. Archived from the original on October 20, 2018.
- Guiducci, Mark (October 18, 2018). "'Suspiria' Director Luca Guadagnino on His 'Tetralogy of Desire'". Garage Magazine. Archived from the original on October 28, 2018.
- Yamato, Jen. "'Suspiria' in the time of Trump: Luca Guadagnino warns, 'Let's have a look back into where we come from'". Los Angeles Times. Archived from the original on October 29, 2018.
- Rizzo, Federica (November 23, 2015). "A Bigger Splash – Abbiamo incontrato il regista Luca Guadagnino". Daruma View (in Italian). Archived from the original on March 4, 2016.
- Editorial Staff (November 23, 2015). "Suspiria, Luca Guadagnino: "Dakota Johnson e Tilda Swinton sono nel cast"". Velvet Cinema (in Italian). Archived from the original on June 12, 2018.
- Hooton, Christopher (October 4, 2016). "Suspiria remake: Tilda Swinton and Dakota Johnson to re-team for Luca Guadagnino's Argento horror". The Independent. Archived from the original on December 29, 2016.
- Nelson, Karin (October 15, 2018). "Dakota Johnson on the Nightmarish Making of Suspiria: "It's a Crazy, Crazy Film"". W. Archived from the original on October 20, 2018.
- Robinson, Joanna (October 10, 2018). "Tilda Swinton Finally Comes Clean About Her Mysterious Triple Act in Suspiria". Vanity Fair. Archived from the original on October 20, 2018.
- Desta, Yohana (October 3, 2016). "Tilda Swinton, Chloë Grace Moretz Will Bring Horror Ballet to Life in Suspiria Remake". Vanity Fair. Archived from the original on October 20, 2018.
- Dry, Jude (June 28, 2018). "Chloë Grace Moretz Praises Luca Guadagnino's 'Suspiria' As 'The Closest to Modern Stanley Kubrick I've Ever Seen'". IndieWire. Archived from the original on October 22, 2018. Retrieved October 22, 2018.
- Nordine, Michael (October 3, 2016). "'Suspiria' Remake: Chloë Grace Moretz to Star in Luca Guadagnino's Update Alongside Tilda Swinton and Dakota Johnson". IndieWire. Archived from the original on December 21, 2016.
- Cappa, Marina (September 26, 2018). "Voglio una vita fluida". Vogue Italia (in Italian). Archived from the original on October 11, 2018. Retrieved October 19, 2018 – via PressReader.
- Van Zwol, Coen (September 2, 2018). "Heksenfilm 'Suspiria' is een matriarchale nachtmerrie". NRC Handelsblad (in Dutch). Archived from the original on October 27, 2018.
- Munzenrieder, Kyle (April 27, 2018). "The Suspiria Remake Sent Dakota Johnson to Therapy and Is Making Critics Nauseous". W. Archived from the original on October 19, 2018.
- Desta, Yohana (August 23, 2018). "Don't Watch the Suspiria Trailer If You Want to Sleep Tonight". Vanity Fair. Archived from the original on October 19, 2018.
- Collis, Clark (October 26, 2018). "Horror icon Jessica Harper talks about her role in the new Suspiria — and the lie she told to get it". Entertainment Weekly. Archived from the original on October 27, 2018.
- Adams, Char (March 3, 2017). "Tilda Swinton Is Completely Unrecognizable as an Elderly Man on the Set of Suspiria". People. Archived from the original on July 9, 2017.
- Flint, Hanna (February 20, 2018). "That picture of Tilda Swinton as a man on the 'Suspiria' set isn't Tilda Swinton (exclusive)". Yahoo! Movies UK. Archived from the original on February 27, 2018.
- Sharf, Zack (June 7, 2018). "'Suspiria' Mystery: Is Tilda Swinton Really Playing the Old Man in Luca Guadagnino's Horror Film?". IndieWire. Archived from the original on October 15, 2018.
- Rudgard, Olivia (September 1, 2018). "Tilda Swinton addresses Suspiria Ebersdorf conspiracy: 'What two roles?'". The Daily Telegraph. Archived from the original on September 1, 2018.
- Robinson, Joanna (September 25, 2018). "Suspiria: Why Tilda Swinton Is Playing a Mysterious Old Man". Vanity Fair. Archived from the original on October 20, 2018.
- Buchanan, Kyle (October 10, 2018). "How 'Suspiria' Transformed Tilda Swinton Into an 82-Year-Old Man". The New York Times. Archived from the original on October 20, 2018.
- Jones, Nate (October 24, 2018). "Luca Guadagnino Reveals Dakota Johnson's Secret Second Role in Suspiria". Vulture. Archived from the original on October 26, 2018.
- Fumagalli, Valentina (December 22, 2016). "Varese come Hollywood. Il set di Suspiria ai Giardini". La Provincia di Varese (in Italian). Archived from the original on December 23, 2016.
- "Varese, l'Hotel Campo dei Fiori set per il remake di Suspiria". Il Giorno (in Italian). August 23, 2016. Archived from the original on November 8, 2016.
- Newell-Hanson, Alice (October 23, 2018). "How an Abandoned Hotel Became a Witches' Lair for 'Suspiria'". The New York Times. Archived from the original on October 28, 2018.
- Anderson, Ariston (October 18, 2018). "Mia Goth Reveals the Costumes She Wanted to Steal From the 'Suspiria' Set". The Hollywood Reporter. Archived from the original on October 22, 2018.
- Foundas, Scott [@foundasonfilm] (October 31, 2016). "Happy Halloween from Day 1 of Luca Guadagnino's SUSPIRIA. Coming from @AmazonStudios, Frenesy Film + @MythologyEnt" (Tweet). Archived from the original on October 27, 2018 – via Twitter.
- Editors (December 5, 2016). "Tilda Swinton, the "pecking" Actress at the Monte Sacro". Varese News (in Italian). Archived from the original on October 20, 2018.CS1 maint: extra text: authors list (link)
- Wiseman, Andreas (August 29, 2018). "'Suspiria': Luca Guadagnino On Amazon's Wild First Horror Pic, Dakota Johnson, That Comic-Con Scene & Sequels". Deadline Hollywood. Archived from the original on October 20, 2018.
- Marcks, Iain (November 28, 2018). "Suspiria: Season of the Witch". American Cinematographer. ISSN 0002-7928. Archived from the original on November 29, 2018.
- Foundas, Scott [@foundasonfilm] (March 10, 2017). "It's officially a wrap for Luca Guadagnino's SUSPIRIA!" (Tweet). Archived from the original on April 17, 2017 – via Twitter.
- Sharf, Zack (March 16, 2017). "Luca Guadagnino is Done Filming 'Suspiria' Remake, Working on Post-Production For Possible 2017 Release". IndieWire. Archived from the original on December 10, 2017.
- Heller, Nathan (October 15, 2018). "Luca Guadagnino's Cinema of Desire". The New Yorker. Archived from the original on October 12, 2018.
- Sharf, Zack (April 23, 2018). "Luca Guadagnino's 'Suspiria' Sent Dakota Johnson to Therapy: 'It F*cked Me Up So Much'". IndieWire. Archived from the original on August 25, 2018.
- Romano, Nick (September 1, 2018). "Dakota Johnson explains why she needed therapy after Suspiria: 'I was not psychoanalyzed'". Entertainment Weekly. Archived from the original on September 4, 2018.
- Kenny, Glenn (September 1, 2018). "Venice Film Festival 2018: Suspiria, Peterloo, The Ballad of Buster Scruggs". RogerEbert.com. Archived from the original on September 3, 2018.
- O'Falt, Chris (November 15, 2017). "'Call Me by Your Name' Looks So Incredible You'd Never Guess It Was Shot During a Historic Rainstorm". IndieWire. Archived from the original on December 20, 2017.
- Stevens, Dana (October 26, 2018). "Luca Guadagnino's Suspiria Remake Is a Witches' Brew of Art House, Horror, and Kink". Slate. ISSN 1091-2339. Archived from the original on October 31, 2018. Retrieved November 1, 2018.
- Squires, John (June 5, 2018). "Let's Talk About the Lack of Color in the 'Suspiria' Remake". Bloody Disgusting. Archived from the original on July 30, 2018.
- Vivarelli, Nick (February 13, 2017). "Berlinale: Luca Guadagnino on Why 'Call Me by Your Name' Strikes Such Deep Chords". Variety. Archived from the original on September 19, 2018.
- Gingold, Michael (January 24, 2019). "Makeup Artist Mark Coulier on Suspiria's Twisted Effects, Clive Barker, and Nightbreed". Rue Morgue. Archived from the original on January 25, 2019.
- Evangelista, Chris (December 9, 2018). "'Suspiria' Featurette Examines the Remake's Gruesome Make-Up Effects". SlashFilm. Archived from the original on January 25, 2019.
- Crucchiola, Jordan (October 31, 2018). "How Suspiria Created Its Dances of Death". Vulture. Archived from the original on October 31, 2018.
- Castillo, Monica (October 26, 2018). "The Dance Legends Who Inspired Suspiria's Bewitching Movement". Vanity Fair. Archived from the original on October 27, 2018.
- Crucchiola, Jordan (October 26, 2018). "How Luca Guadagnino Brought Suspiria's Bloodiest, Wildest Scene to Life". Vulture. Archived from the original on October 26, 2018.
- Erbland, Kate (October 26, 2018). "Dakota Johnson: 'Suspiria' Is the 'Landmark Moment' of Her Career, But the Actress Is Just Getting Started in Hollywood". IndieWire. Archived from the original on October 27, 2018.
- Boticello, Mike (October 25, 2018). "'Suspiria': How Dakota Johnson Transformed Into a World-Class Dancer". Variety. Archived from the original on October 26, 2018.
- Johnson, Dakota (September 2, 2018). "INTERVIEW – Dakota Johnson on the background work required for the role: 'Suspiria' interviews at 75th Venice Film Festival" (Interview). Interviewed by Oliver Graham. Venice, Italy: Getty Images. Archived from the original on April 21, 2021. Retrieved October 23, 2018.
- Goth, Mia; Guadagnino, Luca; Harper, Jessica; Goth, Mia; Johnson, Dakota; Kajganich, David; Swinton, Tilda (October 23, 2018). "Suspiria post-screening Q&A" (Interview). Grauman's Egyptian Theatre, Los Angeles, U.S. Archived from the original on June 5, 2020. Retrieved October 29, 2018.
- Young, Alex (September 4, 2018). "Thom Yorke details Suspiria soundtrack, shares "Suspirium": Stream". Consequence of Sound. Archived from the original on September 5, 2018.
- Anderson, Ariston. "Thom Yorke on Why He Was Scared to Tackle the Suspiria Soundtrack – And Why He'll Never Stop Touring". Billboard. Archived from the original on October 31, 2018.
- Yoo, Noah (September 3, 2018). "Thom Yorke Details New Suspiria Soundtrack, Shares New Song: Listen". Pitchfork. Archived from the original on September 5, 2018.
- Kreps, Daniel (September 1, 2018). "Thom Yorke Talks 'Suspiria' Score at Venice Film Festival". Rolling Stone. Archived from the original on September 13, 2018.
- Bahr, Lindsay (May 5, 2018). "CinemaCon shows diversity, musicals coming to theaters". The Burlington Free Press. Burlington, Vermont. p. A5. Archived from the original on October 20, 2018. Retrieved October 19, 2018 – via Newspapers.com.
- Miller, Matt (June 4, 2018). "Early Footage From 'Suspiria' Is So Demented, It Traumatized Audiences". Esquire. Archived from the original on October 20, 2018.
- Foutch, Hayleigh (April 26, 2018). "'Suspiria': Amazon Revealed the Gruesome First Footage from Luca Guadagnino's Remake & The Reactions Are Intense". Collider. Archived from the original on April 29, 2018.
- Sciretta, Peter [@slashfilm] (April 26, 2018). "First clip from Suspiria invokes a dancer being thrown around like a rag doll telekinetically in a mirrored rehearsal space, bones breaking, becoming a contorted mess. Very gruesome and hard to watch. This film will make most people feel uneasy. #CinemaCon" (Tweet). Archived from the original on September 2, 2018 – via Twitter.
- Vivarelli, Nick (May 8, 2018). "'Suspiria' by Luca Guadagnino Set for Italian Theatrical Release (EXCLUSIVE)". Variety. Archived from the original on January 25, 2019.
- Tartaglione, Nancy (July 25, 2018). "Venice Film Festival Lineup: Welles, Coen Brothers, Cuaron, Greengrass, More – Live". Deadline Hollywood. Archived from the original on August 9, 2018.
- Chang, Justin (July 26, 2018). "Strong lineup boosts Venice". Los Angeles Times. p. A7. Archived from the original on October 20, 2018. Retrieved October 19, 2018 – via Newspapers.com.
- Newby, Richard (August 23, 2018). "The Mythology Behind the 'Suspiria' Remake". The Hollywood Reporter. Archived from the original on October 20, 2018.
- Rubin, Rebecca (October 28, 2018). "'Suspiria' Plans Big Expansion After Roaring Start". Variety. Archived from the original on October 29, 2018.
- "Suspiria: Get Tickets: Dallas, TX". Suspiria.movie. Archived from the original on October 20, 2018.
- "Suspiria: Get Tickets: Denver, CO". Suspiria.movie. Archived from the original on October 20, 2018.
- "Suspiria: Get Tickets: Portland, OR". Suspiria.movie. Archived from the original on October 20, 2018.
- "Suspiria: Get Tickets: San Francisco, CA". Suspiria.movie. Archived from the original on October 20, 2018.
- "Suspiria: Get Tickets: Seattle, WA". Suspiria.movie. Archived from the original on October 21, 2018.
- "Suspiria: Get Tickets: Springfield, MO". Suspiria.movie. Archived from the original on October 20, 2018.
- "Suspiria: Get Tickets: Tempe, AZ". Suspiria.movie. Archived from the original on October 21, 2018.
- Mitchell, Robert (August 24, 2018). "Luca Guadagnino's 'Suspiria' Picked Up by MUBI for U.K." Variety. Archived from the original on September 17, 2018.
- "LUCA GUADAGNINO'S REMAKE OF "SUSPIRIA" TO BE RELEASED IN THE UNITED STATES ON OCT 26, IN ITALY ON JAN 1, 2019. LOOKING FORWARD TO THE 23rd ANNUAL FEST FROM DECEMBER 27, 2018 TO JANUARY 2, 2019". Capri Hollywood. October 12, 2018. Archived from the original on November 6, 2018. Retrieved November 6, 2018.
- "Le streghe son tornate… #Suspiria Dal 1 gennaio al #cinema". Twitter. November 5, 2018. Archived from the original on April 21, 2021. Retrieved November 6, 2018.
- Squires, John (December 10, 2018). "Special Features and Cover Art Revealed for 'Suspiria' Blu-ray Release". Bloody Disgusting. Archived from the original on December 11, 2018.
- "Suspiria (2018) – Financial Information". The Numbers. Nash Information Services. Archived from the original on November 1, 2019. Retrieved July 27, 2019.
- Fuster, Jeremy (October 28, 2018). "'Suspiria' Posts Highest Screen Average of 2018 in Gory Indie Box Office Launch". TheWrap. Archived from the original on October 28, 2018.
- "Suspiria (2018) Weekend Box Office". Box Office Mojo. Archived from the original on November 5, 2018. Retrieved November 4, 2018.
- "Suspiria (2018)". Box Office Mojo. Archived from the original on September 3, 2018. Retrieved April 25, 2019.
- Sharf, Zack (November 12, 2020). "Luca Guadagnino: 'Suspiria' Sequel Plan Impossible After Film Was a Box-Office Disaster". IndieWire. Archived from the original on November 13, 2020. Retrieved November 13, 2020.
- Truitt, Brian (October 25, 2018). "Review: Polarizing 'Suspiria' is an unnervingly good time to the crazy last dance". USA Today. ISSN 0734-7456. Archived from the original on October 26, 2018.
- Travers, Peter (October 24, 2018). "'Suspiria' Review: Horror Remake Is Mesmerizing, Maddening and a Mess". Rolling Stone. Archived from the original on October 26, 2018.
- Oller, Jacob (October 25, 2018). "Suspiria Director Luca Guadagnino Reveals Prequel Idea, Dakota Johnson's Double Role". Syfy.com. Archived from the original on October 25, 2018.
- "Suspiria (2018)". Rotten Tomatoes. Archived from the original on January 16, 2021. Retrieved December 24, 2020.
- "Suspiria (2018)". Metacritic. Archived from the original on November 15, 2018. Retrieved December 8, 2018.
- Chang, Justin (October 24, 2018). "Review: Luca Guadagnino's 'Suspiria' remake casts a powerfully brutal, sorrowful spell". Los Angeles Times. Archived from the original on October 25, 2018.
- Kim, Kristen Yoonsoo (October 29, 2018). "Luca Guadagnino's 'Suspiria' Is a Thrilling Mess". The Nation. Archived from the original on October 29, 2018.
- Gleiberman, Owen (September 1, 2018). "Film Review: 'Suspiria'". Variety. Archived from the original on October 30, 2018.
- Burr, Ty (October 31, 2018). "Modern dance is a horror show in 'Suspiria'". The Boston Globe. Archived from the original on November 13, 2018. Retrieved November 1, 2018.
- Lane, Anthony (October 29, 2018). "The Confounding Sadness of Luca Guadagnino's "Suspiria"". The New Yorker. Archived from the original on October 30, 2018.
- Ehrlich, David (September 1, 2018). "Suspiria". IndieWire. Archived from the original on September 29, 2018.
- Cwik, Greg (October 23, 2018). "Suspiria". Slant Magazine. Archived from the original on October 23, 2018.
- Rooney, David (September 1, 2018). "'Suspiria': What the Critics Are Saying". The Hollywood Reporter. Archived from the original on September 7, 2018.
- Bradshaw, Peter (September 1, 2018). "Suspiria review – Luca Guadagnino's horror remake has sex and style but fails to bewitch". The Guardian. Archived from the original on October 25, 2018.
- Dargis, Manohla (October 24, 2018). "Review: 'Suspiria' Is a Gaudy Freakout of Female Violence". The New York Times. Archived from the original on October 24, 2018.
- Collin, Robbie (September 1, 2018). "Suspiria, review: This slow-burn horror is better than the original". The Telegraph. Archived from the original on October 25, 2018.
- Klimek, Chris (October 26, 2018). "'Suspiria': A Cult-Horror Remake Dances To A Confusing Beat". NPR. Archived from the original on November 4, 2018.
- Bibbiani, William (October 24, 2018). "Suspiria Review". IGN. Archived from the original on October 25, 2018.
- Zacharek, Stephanie (September 1, 2018). "The Suspiria Remake Isn't That Scary. But That's Not Even the Worst Thing About It". Time. Archived from the original on September 3, 2018.
- Selling, Kim; Zelman, Joule (October 29, 2018). "Feel Free to Bail When Suspiria Turns Into a Satanic Thom Yorke Music Video". The Stranger. Seattle, Washington. Archived from the original on October 30, 2018.
- Schaefer, Sandy (October 27, 2018). "Suspiria Review: Luca Guadagnino's Horror Film is No Mere Remake". Screen Rant. Archived from the original on October 27, 2018.
- Kourlas, Gina (November 2, 2018). "Luca Guadagnino Unleashes the Witchy Power of Modern Dance". The New York Times. Archived from the original on November 7, 2018. Retrieved November 18, 2018.
- Barber, Nicholas (September 2, 2018). "Film review: Suspiria is 'just not very scary'". BBC. Archived from the original on November 7, 2018.
- Duralde, Alonso (September 1, 2018). "'Suspiria' Film Review: Luca Guadagnino's Misguided Horror Remake Falls Flat". TheWrap. Archived from the original on September 5, 2018.
- "DARIO ARGENTO STRONCA IL REMAKE DI "SUSPIRIA": "…HA TRADITO LO SPIRITO DELL'ORIGINALE: C'è POCA PAURA, NON C'è MUSICA"". Indie for Bunnies (in Italian). Archived from the original on January 21, 2019.
- Pearce, Leonard. "Dario Argento Says Luca Guadagnino's 'Suspiria' Remake "Betrayed the Spirit of the Original"". The Film Stage. Archived from the original on January 21, 2019.
- Maddaus, Gene (September 27, 2018). "Amazon Sued Over Use of Artist's Work in 'Suspiria'". Variety. Archived from the original on October 2, 2018.
- Maddaus, Gene (October 24, 2018). "Artist's Estate Settles 'Suspiria' Copyright Case Against Amazon Studios". Variety. Archived from the original on October 24, 2018.
- "Queer Lion Award to "José" by Li Cheng". European Inter-University Centre for Human Rights and Democratisation. October 9, 2018. Archived from the original on October 28, 2018.
- "Collateral Awards Of The 75th Venice Film Festival". Venice Film Festival. September 7, 2018. Archived from the original on September 8, 2018.
- Erbland, Kate (November 16, 2018). "2019 Independent Spirit Awards Nominees, 'Eighth Grade' & 'We the Animals' Lead". IndieWire. Penske Media Corporation. Archived from the original on November 26, 2018.
- "2018 WAFCA Awards Nominations". Washington D.C. Area Film Critics Association. December 1, 2018. Archived from the original on December 9, 2018.
- Suzanne-Mayer, Dominick; Roffman, Michael (December 7, 2018). "Chicago Film Critics Association announces 2018 nominees". Consequence of Sound. Archived from the original on December 9, 2018.
- Menzel, Scott (December 3, 2018). "Los Angeles Online Film Critics Society Announces Its 2nd Year Nominations". Los Angeles Online Film Critics Society. Archived from the original on December 9, 2018.
- "IFJA 2018 Film Awards Eligible Films and Performances (as of 12/6/18)". Indiana Film Journalists Association. December 7, 2018. Archived from the original on December 9, 2018.
- ""The Hate U Give" Tops 2018 Indiana Film Journalists Association Awards". Indiana Film Journalists Association Awards. December 17, 2018. Archived from the original on December 20, 2018. Retrieved December 18, 2018.
- "Philadelphia Film Critics Circle Names Roma the Best Film of 2018". Philadelphia Film Critics Circle. December 9, 2018. Archived from the original on December 9, 2018. Retrieved December 10, 2018.
- "Sunday Precursors: LAFCA, NYFCO, New Mexico, Toronto (And More) All Announcing – Check Back for Updates!". Awards Circuit. December 9, 2018. Archived from the original on December 9, 2018. Retrieved December 10, 2018.
- ""ROMA" NAMED BEST PICTURE OF 2018 BY SEATTLE FILM CRITICS SOCIETY". Awards Circuit. December 17, 2018. Archived from the original on December 17, 2018. Retrieved December 18, 2018.
- "Announcing the Nominees for the 24th Annual Critics' Choice Awards". Critics' Choice Awards. December 10, 2018. Archived from the original on August 2, 2019. Retrieved December 11, 2018.
- "Phoenix Critics Circle Awards 2019 Nominees". Phoenix Critics Circle. December 12, 2018. Archived from the original on January 30, 2018. Retrieved December 13, 2018.
- "2018 Sierra Award Winners". Las Vegas Film Critics Society Awards. December 14, 2018. Archived from the original on December 26, 2013. Retrieved December 14, 2018.
- "'The Favourite' a favorite with Houston Film Critics Society". Houston Chronicle. December 17, 2018. Archived from the original on December 17, 2018. Retrieved December 18, 2018.
- "The 2018 Music City Film Critics Association (MCFCA) Nominations". Next Best Picture. December 21, 2018. Archived from the original on October 15, 2019. Retrieved December 22, 2018.
- "The 2018 Austin Film Critics Association (AFCA) Nominations". Best Next Picture. December 27, 2018. Archived from the original on October 15, 2019. Retrieved February 10, 2019.
- "'Suspiria' Producer Bradley J. Fischer to Be Honored at Capri, Hollywood Festival". The Hollywood Reporter. February 10, 2019. Archived from the original on February 12, 2019. Retrieved February 10, 2019.
- "2018 AWARDS (22ND ANNUAL)". Online Film Critics Society. February 10, 2019. Archived from the original on January 2, 2019. Retrieved February 10, 2019.
- "2018/19 DORIANS AWARDS". GALECA. February 10, 2019. Archived from the original on February 12, 2019. Retrieved February 10, 2019.
- "ACCA 2018". Awards Circuit. February 10, 2019. Archived from the original on October 15, 2019. Retrieved February 10, 2019.
- "Georgia Film Critics Association:2018 Awards". Georgia Film Critics Association. February 10, 2019. Archived from the original on January 8, 2019. Retrieved February 10, 2019.
- "'Roma' and 'The Favourite' Lead London Critics' Circle Winners". Variety. February 10, 2019. Archived from the original on February 12, 2019. Retrieved February 10, 2019.
- "2018 CIC Award Winners". Chicago Indie Critics. February 10, 2019. Archived from the original on May 18, 2019. Retrieved February 10, 2019.
- "2019 ICS Awards Winners". International Cinephile Society. February 10, 2019. Archived from the original on February 7, 2019. Retrieved February 10, 2019.
- "Halloween, Hereditary, and A Quiet Place nominated for Best Movie… at Fangoria Awards". Entertainment Weekly. February 10, 2019. Archived from the original on April 26, 2019. Retrieved February 10, 2019.
- "2020 GRAMMY Awards: Complete Nominees List". Variety. November 20, 2019. Archived from the original on January 26, 2020. Retrieved November 20, 2019.
- Wiseman, Andreas (August 30, 2018). "'Suspiria': Luca Guadagnino On Amazon's Wild First Horror Pic, Dakota Johnson, That Cinema-con Scene & Sequels". Deadline Hollywood. Archived from the original on January 25, 2019.
- Squires, John (October 27, 2018). "Luca Guadagnino Reveals 'Suspiria' Prequel Idea, Which Centers On Helena Markos". Bloody Disgusting. Archived from the original on October 27, 2018. Retrieved October 27, 2018.
|Wikimedia Commons has media related to Suspiria (2018 film).|
|Wikiquote has quotations related to: Suspiria (2018 film)|