(Venice Luigi Noera with the kind collaboration of Marino fearful- Photos are published courtesy of the Venice Biennale)

Presented in competition at the 75th Venice Film Festival in Venice, Suspiria It is the latest work by Luca Guadagnino, anticipated remake of Dario Argento's 1977.

Also here, as in the films of Argento, We witness the disturbing story of the young Susi, come to Germany, in order to train as a classical dancer. Here we see the mysterious disappearance before and then the brutal death of some of the academy students. the above-mentioned visual differences and the different color choices, however, make only vaguely the idea of ​​how this latest work by Guadagnino differs from the previous film Silver.

In wanting to realize the present remake, in order to differentiate themselves from the work of Silver and create at all costs something strictly subjective, Guadagnino has loaded everything too, the splatter scenes, the time dilation, from the many components brought into play (in this version, reference is made also to the tragedy of the Holocaust), up to, even, almost a kind of contamination of genres, where the horror component is no longer the prerogative of the director, ma, Unlike, It is brought up also the historical and personal drama of some characters specifically. E, in fact, to these choices it may even seem interesting. But why, then, This latest work by Guadagnino just failed to hit the target? Simple: when the desire to overdo it and make their hand so obviously have the upper hand, you end up losing sight of the initial intentions, making sure that the entire product totally loses bite and, at the end of games, fails to develop properly none of the above items brought in. And here, therefore, we are faced with a work from the pace too - and unjustifiably - dilated, where he limps for more than two hours to get to the point, finishing to speed up the whole thing just a few minutes before the end. Meantime, a series of tracking shots and slow and scenic smug do the rest, broken only by a few successful scenes, as the time when - with a good alternate editing - we see the star perform in a frenzied dance and, while, her friend at the mercy of supernatural forces that mimics his movements themselves, shattering every bone. and yet, Also the moments more aesthetically attractive and more successful, in fact they can not get to the bottom. The impression one gets, indeed, is that of a wish to show at all costs their talents, without really care about what you are putting on stage. Almost as if he were playing a homework in the academy in order to get a good rating and be able to move to the next phase.

There is no tension, therefore, when it comes to the long-awaited climax. There is no tension, but only suggestive turns to red images of women engaged in disturbing rituals. By now, that during the first minutes of the film had started to disturb us has vanished altogether. A sign that, while he is having a good grasp of the film medium from a purely technical point of view, just little to be overwhelmed by the desire to overdo. Sign that the horror, apparently, It is not at the camp as a director Luca Guadagnino.

marina fears