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Luca Guadagnino’s Suspiria Starring Dakota Johnson Gets Teaser Trailer

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Luca Guadagnino’s Suspiria Starring Dakota Johnson Gets Teaser Trailer

Amazon Studios

Luca Guadagnino’s Suspiria Starring Dakota Johnson Gets Teaser Trailer

Today, Amazon Studios released the first teaser trailer for Luca Guadagnino’s highly anticipated remake of Dario Argento’s iconic horror film Suspiria. Immediately noticeable from the minute-and-a-half clip is the distance that Guadagnino is placing between his film and the baroque-pop stylings of Argento’s original in both look and sound. Suspiria is set in and around a world-renowned dance company that’s gripped by darkness and threatens to destroy a young dancer (Dakota Johnson). The film also stars Tilda Swinton, Mia Goth, Lutz Ebersdorf, Chloë Grace Moretz, and Jessica Harper, who played Johnson’s role in the original.

Death by Art Andrew Cooper’s Dario Argento

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Death by Art: L. Andrew Cooper’s Dario Argento
Death by Art: L. Andrew Cooper’s Dario Argento

“What the fuck is this bullshit psychoanalysis?” are the wonderful words spoken by Jeremy Irons’s Beverly Mantle in David Cronenberg’s Dead Ringers (1988), and if you follow the arguments of L. Andrew Cooper in his new book, the films of Dario Argento often share a similar opinion. Cooper claims Argento, though labeled early in his career as the “Italian Hitchcock,” spent his early, gialli-focused years lambasting and lampooning “Freudian proclivities,” most notably in The Bird with the Crystal Plumage (1969), which positions itself as a Psycho (1960) homage, only to jest at Hitchcock’s insistence upon closure via psychological ends. In fact, Cooper argues that aesthetics, especially beginning with Deep Red (1975), become a replacement for both psychoanalysis and narrative in Argento’s films, leading him toward an interest in visual excess, which would culminate in Suspiria (1977) and Inferno (1980), films that “in their combinations of wild visuals and storylines that challenge storytelling itself, were unlike anything the world had ever seen.” If the previous claim reads slightly clunky and definitely hyperbolic, it’s likely because Cooper’s book, on the whole, is torn between its academic and populist inclinations. Unlike Maitland McDonagh’s revelatory Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento, which strikes an invigorating balance of analysis, theory, and historicizing, Cooper states from the onset his desire to “eschew a traditional auteur approach.” Necessarily, this leads him down a rather predictable post-structuralist path, replete with deconstructionist close-reading after close-reading—all of them informative and knowledgeable, certainly, but few, if any, of them truly illuminating the depths of Argento’s oeuvre, beyond relatively fundamental distinctions between form and content and Argento’s non-normative subversions.