The theme of motherhood is explored frequently in the film , both within the coven and in Susie 's early life and relationship to her own mother . Michael Leader of '' Sight & Sound '' considers the film " an extended exercise in metafictional annotation that insists on dragging the original 's darkest metaphors into the light . " Michael O'Sullivan of '' The Washington Post '' links the film 's theme of motherhood ( characterized alongside its " discontents " as being " chewed on like a vulture tearing at a carrion " ) with ethnic nationalism , though he states that " neither subtext goes much of anywhere " . Julie Bloom echoed similar sentiments in '' The New York Times '' , writing that while the film " revels in gore and gruesome displays of horror ... it also delves into the dynamics of a wholly female community , touching on issues of power , manipulation , motherhood and the horrible things women can do to other women . " Matt Goldberg of '' Collider '' interprets a perfidious form of motherhood as a core theme of the film , as he notes the matrons merely pretend " to be motherly towards the students , but they 're actually just using them for their power . " Madame Blanc 's near-decapitation at the hands of Mother Markos when she is resistant to beginning the sabbath demonstrates that Blanc and Markos " do not share the same values , " and that Blanc has formed a genuine kinship with Susie . Hannah Ewens of '' Vice '' notes : " With coven power transferred to Susie , it 's impossible to say where her talent ends and the influence of the mothers begins . Mothers are n't supposed to have favorites , but deep down they often do — and Madame Blanc 's is Susie from the moment of her audition . " For the majority of the film , Susie appears to be an otherwise normal woman who finds her natural talents rewarded and prized by the coven . As the film progresses into its final act , however , it is revealed that Susie is in fact Mother Suspiriorum , one of the Three Mothers whom the coven exalts . Film Crit Hulk , a pseudonymous writer for '' The New York Observer '' , interprets Susie 's character arc as the discovery of her shadow self : " Initially she seems just a fresh-faced girl from Ohio , eager to make strides into this esteemed dance company . But her shadow self is soon awoken , which we are meant to fear . Susie unleashes her libido as the rapturous demon below claws at the floor . She turns deeply sexual , almost becoming carnal as she writhes to the ground . " Similarly to Goldberg , they interpret Susie 's unveiling of herself as Mother Suspiriorium to be messianic in nature , as she eradicates the corrupted Mother Markos and the loyal followers who idolize her . Goldberg reads Susie 's destruction of Markos and her followers as retribution for their abuse of power : While Susie/Mother Suspiriorum shows no mercy for Markos and her followers , Goldberg asserts that she is capable of compassion , citing the fact that she grants the physically devastated Sara , Olga , and Patricia " the sweet release of a gentle death rather than obliterating them . " Goldberg extends this interpretation to Susie/Mother Suspiriorum 's visit to Klemperer in the epilogue , during which she relates his lost wife 's death in a concentration camp , information he had not previously known . Goldberg reads the sequence as an emphasis that " women bonding together have the power to remove the fear of death , and that while the worldespecially the powerfulneed “ guilt " and " shame , " Klemperer should not feel those things because he has not abused his power . He 's the " witness " and from the perspective of witnessing a fascist rise to powerin his case , Nazi Germanyhe is responsible for watching and doing nothing . However , it 's people in power who need guilt and shame . " Some critics have alternately interpreted the representation of the coven 's power as inspiring fear of women 's autonomy and linking it solely with violence . Sonia Rao of '' The Washington Post '' notes that while " Guadagnino grants these women power " , their power " knows no bounds . Madam Blanc ... can turn Susie 's dreams into bloodcurdling nightmares . She and the other matrons can inflict injuries on dancers whenever and wherever they want . The witches frequently inflict or inspire violencetheir actions , after all , are what make this a horror movie . But some critics say this makes it seem like a woman with a great amount of power is someone who should be feared . " The '' Chicago Reader '' s Andrea Thompson echoes this sentiment , writing that the film adopts a vision where " when women are united , it is always to achieve an evil outcome . " Andrew Whalen of '' Newsweek '' conversely suggests that the film " decimat es typical narrative conventions of good and bad ... Evil is disturbingly natural in '' Suspiria '' , where sometimes only further violence can make room for good to exist at all . " Whalen characterizes the coven as " a working alternative to the patriarchy falling apart outside the doors — financially autonomous , beyond the reach of the police ... and deeply , powerfully collectivist , both materially and spiritually . " The narrative of the coven and Susie/Mother Suspiriorum 's infiltration of it is underpinned by numerous historical incidents , including the hijacking of Lufthansa Flight 181 , bombings , and numerous kidnappings perpetrated by the Red Army Faction ( RAF ) , a Marxist group whose peak activity occurred in the autumn of 1977 in West Germany . These events occurred in the wake of '' Vergangenheitsbewältigung '' , a period referring to Germany 's national reflection on their culpability in World War II and the Holocaust , which " echoes constantly throughout " the film . While Goldberg has pointed out correlations between the coven 's innerworkings and the national events occurring outside of it , others , such as Simon Abrams of '' The Hollywood Reporter '' , view them as " surface-level parallels between historic signifiers " that " have the odd effect of subordinating those female-centered themes to a blandly familiar grab bag of sensationalistic headlines . " Abrams concludes that the film offers " an underdeveloped , pseudo-Jungian understanding of how historical events kinda/sorta overshadow their protagonists ' lives . " A remake of '' Suspiria '' ( 1977 ) was announced in 2008 by director David Gordon Green , who had co-written a script with his sound designer . In 2007 , Luca Guadagnino had convinced the original film 's creators Dario Argento and Daria Nicolodi to allow him to option a remake of the film . Guadagnino subsequently offered the project to Green , who cast Isabelle Huppert , Janet McTeer , and Isabelle Fuhrman . Green described his screenplay as " operatic " , adding , " I love Argento 's film and we wrote a very faithful , extremely elegant opera ... I do n't mean musical opera , but it would be incredibly heightened music , and heightened and very operatic and elegant sets . " According to Green , financing conflicts resulted in the project being scrapped
Lufthansa Flight 181
Lufthansa Flight 181
Suspiria (2018 film)