Saturday , November 28 2020

Suspiria Explains That the Author Ended, Why Dakota Johnson Becomes New Final Girl



David Kajganich pulls the curtain back into this last, bloody act, a different kind of Susie, the Girl Girl, who inspires the film's brutal scenes, and more.

[Editör'ünnotof:isAşağıdakimakaleşunlarıiçer:[Editor'snotto:Thefollowingarticlecontains[Editör’ünNotu:Aşağıdakimakaleşunlarıiçermektedir:[Editor’sNote:Thefollowingarticlecontainsspoiler for the new ia Suspiria. included in the end.]

When it was first announced, many people had doubts about Luca Guadagnino's revival of the classic 1977 horror movie io Suspiria io by Dario Argento. Argento's films have been portrayed by the Goblin with a memorable soundtrack and colors, strange but memorable backgrounds and a ruthless kaleidoscope. death scenes. U Suspiria ı didn't need to be reconstructed, and Guadagnino knew that his film would be more of a tribute than anything else.

Guadagnino nourished her film at the n Suspiria is of Argento and the Mythology of the Three Mothers of the 1980s, “Inferno“ and 2007 ”Mother of Tears Guad. Three Mothers are three powerful witches who are actually once entwined. The earth is gaining power and wealth and destroying their destruction and death. She has Mater Suspiriorum or Sigh of Mother's mother in Freiburg, Germany (changed in the new film in Berlin). Mater Tenebrarum or Dark Mother in New York; and Mater Lachrymarum, mother of Tears in Rome.

In 2018, ulaş Suspiria dans enables Mater Suspiriorum and Susie Bannion (Dakota Johnson) to reach the prestigious dance academy in Germany. But Guadagnino tapped his footsteps at a time when he set up the film in 1977, and in German political history, especially in the fall of Germany, a period of discontent filled with kidnappings, and the failure of the Red Army, the very leftist militant group of West Germany, to seize. carrying.

This was the filmmaker, David Kajganich, who had previously worked with Guadagnino in 2015 with in A Bigger Splash Önceden. Kajganich admitted that he was once again fascinated with the original film, Guadagnino – once again watching him start his own screenplay – and yet he saw Argento 's beloved film as a dazzling task until he clarified the content of Guadagnino. .

Read more:– Suspiria Review: Luca Guadagnino's Horror Remake Crazy and Magnificent Madness Work – Venice

Kajganich, "Luca, said he was considering keeping in 1977." Said. Iy But spreading the world of Berlin and Germany at that time really leaked into the story. After I said that, I knew how this could work. In the midst of German autumn, in the context of the politics of Germany at the time, it could actually be related to politics within this genre. Suddenly, instead of a hermetically sealed type of original, the scope could have been a little more. We can be on a much larger scale to understand the politics of the day. The more we talked about it, the more we went. "

In spite of this new framework, although it seems very different, dün Suspiria oş is still buried much more than the world of witchcraft and secret enthusiasm, perhaps more than the original. In the Tanz Dance Academy, and especially with Madam Blanc (Tilda Swinton), it is understood that dance is in fact a ritual, a kind of spell casting tool.

SUSPIRIA Dakota Johnson (center) and Mia Goth (center left)

"Suspiria"

Alessio Bolzoni / Amazon Studios

These witches don't like everything they've seen before on the screen: they catch silver hooks like sickles, where they kill their victims; They make every student dream, give them live, technological nightmares; their magic is a magic that influences the body and causes them to brutally break with Susie's dancing as a puppet role, obstructing the eyes of the rebellious student with thick, spherical tears in a scene.

In order to create unforgettable witches, Kajganich and David Cronenberg used some body fear inspiration, but most of them were rooted in the very real and dark history of accusation of witchcraft as a means of extracting women from basic power and voice.

Read more:Değil Empowering ”and S Most Lightly Yıldız Not Voyeur“ by Chloë Grace Moretz's Star of Suspiria

. I've only been involved in a hard research about the history of witchcraft, K Kajganich said. . About such esoteric iconography. I've done a lot of research about how the fear of witchcraft and witches really is a fear of woman empowerment. And how these two things oloji the feminist movement and the way to fear this secrecy have crossed points because they are historically related to each other, so people (if you are going to do it, patriarchy) gets their fear of empowering women and creating a mythology for it. Most of the time there is something about this secret, which is hidden.

Im I just wanted to try to build a foot in the real research about witchcraft and a foot of a woman's destructive and destructive narratives about women's empowerment. [I was] Trying to understand as much as possible, what a true longing in Berlin, 1977, is and how it behaves and what its rituals can contain. "

These rituals came to the summit twice in the film. First, in the performance of (Volk ric, a striking series that turned into a curtain of fire before its spell, the suspicion of his friend's disappearance was totally broken by Sara Tho's Sara; to reveal the hive.

With the acak Volk bir performance, Madame Blanc and the exuberant Susie are trying to sacrifice her: with her dance ritual, her body will be a ship of Helena Markos, who is enthusiastic about her body and is the leader of the Mater Suspiriorum. A new body for the soul to live. After a performance failure, the witches make a second attempt at a last and very bloody ritual, in which a true Sigh is not his mother, Helena Mark, but who actually appears (in a great departure from the original film). Susie's been together.

As Susie shows herself, Helena calls for a familiar, demonic-looking creature that has begun to kill those who support her patronage. Sighs Mother unveils a darkened mouth, opening her own breast. The mother departed after a death and destruction in the ritual room, but was unmerciful, both Sara and Patricia had failed, attempted to create a host to Markos as a lethal person, became a half-man and grunted. .

"Suspiria"

Amazon Studios

As Kajganich explained, the hints of Susie's true identity are embedded from the beginning of the film. Susie, da I know who I am! Iğ In the school where she screams during her dream, she wakes up to her identity. Nevertheless, at the same time, the audience has a great surprise, but also Madame Blanc.

Başlıy At some point, you're starting to realize you're always drawn to Berlin, K Kajganich said. Iyor He was always on his way to Madame Blanc and he doesn't even know why. When the two detectives begin to see things in the dormitory where he was robbed and toyed, his reaction to the scene is laughing. That's not what you expect. In most horror movies, the last girl would see something like this and want to run. And it doesn't, it just attracts more. She doesn't know exactly why her relationship with these horrible things didn't want to escape.

Baş And then at some point he notices it and begins to take over the dream that Madame Blanc has sent her. At one point, Madame brings her own iconography of dreams to the Blanc, and I think something is wrong here during the rite of Madame Blanc. This is not what we expected this to happen. We need to stop this and find out what this new element we're not controlling here. "

Read more:"Suspiria" Twist Ending: Dakota Johnson Reacts to Susie Bannion's Shock Atrocities

The transformation of Susie is quite different from the film of Argento, the ability to capture Helena Markos, from Argento 's standard Final Girl hangers of an innocent girl who overcomes death and horror to defeat evil and reveal victory. . Susie, like her mother in Sighs, was triumphant, but she came to describe the horror, but still marks a slip of a soldier, who is developing in new ways as the species becomes more fortified.

Kajganich sees Susie as a very different Last Girl, because her source of empowerment comes from the inside and is often the source of horror in Son Suspiria K.

Ir Fear is a kind of, of course, when the trafficking of human beings around, so when the last girl soldier is used well, it's about the concern of being a woman in terms of objectifying or violent conditions for you. But in our version, it is a young woman who realizes what her true identity is and is a source of power under her control but that she is not given to it, but that it is her source.

. Not exactly the last girl, but the Mennonite Susie Bannion, whom you met at the beginning, is not the person you have at the end of the movie. I think that in most horror films, I think that the main character, the threat of the film, is the object of the film's threat. We wanted Susie to be a place where the horror of the film was sometimes and definitely. To me, this distinction is pretty cool. "

Suspiria now plays in theaters.

Register: Stay on top of the latest breaking news and TV news! Email Sign up here.


Source link