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Suspiria (2018)

November 2020

  • ‘He drinks like a drunkard and she wants to change sex’ … Jordan Kristine Seamón and Jack Dylan Grazer in We Are Who We Are.

    The show the military couldn't stop: Luca Guadagnino on We Are Who We Are

    His new TV series about wild goings-on at an army base near Venice horrified the US Department of Defense. Did it also cost him his relationship? The Call Me By Your Name director reveals all

April 2019

  • Damien Jalet and Kohei Nawa’s Vessel

    Body shock: Suspiria’s Damien Jalet unleashes his headless dancers

    The horror-film choreographer’s new show, Vessel, weaves spells with writhing limbs, menacing ritual figures and a cauldron of gloop. He explains its origins

February 2019

  • “Call Me By Your Name” Film - 2017<br>No Merchandising. Editorial Use Only. No Book Cover Usage Mandatory Credit: Photo by Frenesy Film Co/Sony/Kobal/REX/Shutterstock (9238201a) Armie Hammer, Timothée Chalamet “Call Me By Your Name” Film - 2017

    The Fashion spring/summer 2019
    Call Me By Your Name's Luca Guadagnino on cinema's love affair with fashion

    The Italian director who also made Call Me By Your Name on how costumes are integral to a character, and how much they influence wider culture – just look at Saturday Night Fever ...

December 2018

  • Alfonso Cuarón’s Roma

    Top US films 2018
    The 50 best movies of 2018 in the US: the full list

  • Roma

    Top UK films 2018
    The 50 best films of 2018 in the UK: the full list

November 2018

  • Suspiria

    Kicking and screaming: how dance became cinema's biggest boogieman

    Suspiria leads a crop of new films that track a dance troupe along a path of mounting horror. It’s no surprise – dance has age-old links to dread, delusion and death
  • Fantastic Beasts: The Crimes of Grindelwald.

    Box office analysis: UK
    JK Rowling's Fantastic Beasts trample the Grinch at UK box office

    Fantastic Beasts: The Crimes of Grindelwald debuts in the top slot, though takings are down from first film in Harry Potter spinoff
    • Mark Kermode's film of the week
      Suspiria review – dancing on the grave of a horror classic

    • Skin suits and black magic: Suspiria and the true stories behind classic horrors

    • Steve Rose on film
      My biggest part yet … a history of prosthetic genitalia in film

October 2018

  • Thom Yorke.

    Thom Yorke: Suspiria review – nape-prickling soundtrack sits in the shadows

  • Suspiria<br>Mia Goth as Sara and Dakota Johnson as Susie star in Suspiria

    The horror? How Suspiria leads the way for arthouse scares

  • Composite: Horror films Scream, Nightmare on Elm Street and Friday the 13th

    Beyond the grave: what's next for the horror reboot?

  • Michael Myers’ survivor sister ... Jamie Lee Curtis in Halloween (1978).

    Where are the scream queens of colour?

  • Names in the news
    Well, at least you’ve got to admire Tilda Swinton’s balls

    Lucy Siegle
  • Tilda Swinton posed as an old man in elaborate hoax for Suspiria

September 2018

  • Kiernan Shipka in Netflix’s Chilling Adventures of Sabrina.

    Coven ready: from Instagram to TV, why are witches so popular?

    Occult dramas from The Chilling Adventures of Sabrina to Strange Angel are a theme of the new season’s TV. Is this a response to the uncertainty of contemporary politics?
  • Luca Guadagnino, second right, on the Venice red carpet with the stars of Suspiria: (l-r) Chloë Grace Moretz, Bradley J Fischer, Tilda Swinton, Jessica Harper, Malgorzata Bela and Mia Goth.

    Venice 2018 roundup: from old-school masterpiece to delirious horror, it's been a vintage year

    With westerns from the Coens and Audiard, a Yorgos Lanthimos costume drama and a “new” work from Orson Welles, this year’s Venice jury has its work cut out
  • Shifting dynamics … Rachel Weisz as Lady Marlborough and Olivia Colman as Queen Anne in Yorgos Lanthimos’s ruthless period drama The Favourite

    Make way for the matriarchy – has #MeToo changed the movies?

    Are a clutch of new films directed by men but featuring powerful women a sign that cinema’s gender landscape is being reshaped or mere opportunism?
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