Casts a withering eye on the processes that inform and result in conflict. Furiously abstract on the level of the individual shot, but incredibly powerful as a cumulative unit.
This might constitute the best (and worst) introduction to Maddin; if you can weather the visual storm of The Heart of the World, you can take in practically anything Maddin will throw at you. Also, this is just plain bonkers, and I wholeheartedly appreciate its existence.
This review may contain spoilers. I can handle the truth.
I don’t know what Guadagnino is doing here. No, that’s not particularly insightful... I can see what Guadagnino is doing here, but I don’t understand why. This version of Suspiria is filled with, perhaps, the most creative choices that I’ve seen in a film for quite a long time, and probably half of them don’t resonate with me. Well, except for that dancing scene, and Mr. Yorke’s score. I will give full props for the creative team’s willingness to try out daring…
Incredibly fragile, which is perhaps the reason why this film has elicited such divided responses. Every couple of minutes or so feels like the total collapse of whatever Hogg has established, but, at least for my perspective, the film never actually splinters and breaks. Therefore, The Souvenir exists in this entirely fraught, yet oddly serene, space for almost its entire runtime (and certainly its back half). Really glad to have seen this, and would encourage some, not all, folks to check it out.