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4.0
7,364 Ratings

Suspiria

Directed by Dario Argento
Italy, 1977
Horror

Synopsis

From the moment she arrives in Freiberg, Germany, to attend the prestigious Tans Academy, American ballet-dancer Suzy Bannion senses that something horribly evil lurks within the walls of the age-old institution. A candy-colored danse macabre from the Italian terror maestro.

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Suspiria Directed by Dario Argento
Above all, Argento’s Suspiria is deeply, powerfully loony, a triumph of execution over narrative, of mesmerizing image and sound.
November 02, 2018
What lingers is not a sense of evil but exhilaration in how far Argento and his fellow filmmakers were willing to go to shock and delight; the movie’s sheer exuberance is the cinematic equivalent of a blood transfusion.
October 05, 2018
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Arguably Argento’s masterpiece, an instance of an alchemical mise-en-scène engulfing and transforming what is, by most traditional standards, an essentially disjointed narrative. Confrontationally visceral, it also has a bizarrely fanciful side resulting from the filmmaker’s fascination with fairy-tale fantasies, Disney’s Snow White and the Seven Dwarfs in particular.
November 02, 2012
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What are people saying?

  • the23rdjoker's rating of the film Suspiria

    Red has never looked so vibrant. Hell has never looked so beautiful. Snoring has never sounded so sinister. Sound design has never sounded so badly post-produced. And pure potent primordial unfathomable dread, and queasy nightmarish terror, has never been depicted so gorgeously garishly and startlingly stylishly. And the staggeringly jaw-droppingly awesome Goblin soundtrack? FAHGEDDABOUTIT!!

  • Ben Dooley's rating of the film Suspiria

    The young American dancer arrives in a German city and stays at a girls' ballet school run by a coven of witches. This is a pure excess of extreme mannerist colour and light in cinema, referencing modern art from Escher to Beardsley in the sets. Argento's subjective psychological mobile cameras combined with Goblin's incredible, horrific music get you so closely into the girl's mindset of pure terror. What a treat!

  • Ally the Manic Listmaker's rating of the film Suspiria

    Great costumes. Thoughtful sets, although they looked fake. Really bad acting and flimsy story, though. 3/5

  • dionysus67's rating of the film Suspiria

    This rhapsody of color, this stupendous marvel of set design, this fulsome celebration of the senses, this explosion of artifice is also a handbook of paradigmatic cameramovement and editing that builds on primal fears about flesh and its decay as in altered states of consciousness. Hallucinogenic as it should be and true to its literary origins, its formal perfection is the story's content itself. Majestic artwork!

  • Lights in the Dusk's rating of the film Suspiria

    The unrelenting soundtrack, the vivid psychedelic color schemes & the masterful set design ensures that Argento's Suspiria still succeeds as both an experiment in sustained terror & as a work of pure cinematic expression. However the aggressive formalism of the film, its bold strokes of editing & cinematography, are each in service of the slight but potent plot; a fairytale death-dream of alienation & innocence lost.

  • Duncan Gray's rating of the film Suspiria

    There isn't exactly a lot of attention to plot, and I'm always skeptical when a horror film relies on shock-gore. But then there's the total craft: the acid colors; the irresistibly demented sets; the Goblin score played as either warning or tease; the editing that synthesizes all the above; and Jessica Harper as the perfect wide-eyed lamb. Curious about the remake—there are ways to fill in this spook story's holes.

  • Zachary T.'s rating of the film Suspiria

    The script is a little thin, and some of the performances are practically vaudevillian; but Argento's visually arresting and hallucinatory nightmare vision is peerless; the cinematography is luscious and Jessica Harper is a compelling, likable lead.

  • josé neves's rating of the film Suspiria

    Digital restored, re-watched. Watching this movie on a movie screen is an exultant experience, even if it was in a digital print and not in 35mm. From all the sides I could catch it, I'll highlight the one that first came to my mind yesterday: that of a great amusement with the scenery, an extraordinary joy of filming, experiencing and destroying it, as in a very good Jerry Lewis. A superior exercise on telling.

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