

Suspiria takes the dance academy setting of Black Swan and drenches it in occult horror, turning artistic transformation into literal body-breaking witchcraft.
Susie Bannion enters a world-renowned dance academy in 1970s Berlin, unaware that the line between performance and dark ritual has vanished. A visceral exploration of artistic possession where every movement of the body carries blood-chilling consequences.
Director: Luca Guadagnino
Starring: Dakota Johnson, Tilda Swinton
Budget: $20 million
Box Office: $7.9 million
Contains: Mature Content
Common questions about Suspiria and this psychological descent into artistic obsession.
In both films, dance is a form of physical sacrifice. In Suspiria (2018), the movements are literally 'spells.' When Susie dances, her body movements inflict physical trauma on a rebellious student in another room. It elevates the concept of 'bleeding for your art' into a literal, supernatural requirement for power.
They are an ancient trio of witches: Mother Tenebrarum (Darkness), Mother Lachrymarum (Tears), and Mother Suspiriorum (Sighs). The 2018 film focuses on the power struggle within the coven as they wait for the true Mother Suspiriorum to reveal herself. The themes of maternal control and artistic possession mirror the 'Stage Mother' dynamic in Black Swan.
The dance 'Volk' is the central ritual of the film. It represents the coven's political and occult power. The precision required for the dance mirrors the 'White Swan' perfection, but the intent behind it is purely 'Black Swan'—dark, destructive, and intended to hollow out the performer to serve a higher, more sinister entity.
The 1977 setting during the 'German Autumn' (a period of terrorism and political unrest) mirrors the internal division of the characters. Just as Berlin is split by a wall, the dancers are split between their human selves and the occult roles they must play. It adds a layer of 'generational trauma' to the psychological horror.
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Curated by Filmiway Editorial Team
Expert analysis of psychological thrillers