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IMDbPro

Suspiria. El maligno

Título original: Suspiria
  • 2018
  • C
  • 2h 32min
CALIFICACIÓN DE IMDb
6.7/10
100 k
TU CALIFICACIÓN
POPULARIDAD
1,721
18
Suspiria. El maligno (2018)
A darkness swirls at the center of a world-renowned dance company, one that will engulf the artistic director, an ambitious young dancer, and a grieving psychotherapist. Some will succumb to the nightmare. Others will finally wake up.
Reproducir trailer2:25
26 videos
99+ fotos
Psychological HorrorSupernatural HorrorWitch HorrorDramaFantasyHorrorMysteryThriller

La oscuridad ronda una compañía de danza de renombre y enredará a su director artístico, una ambiciosa joven bailarina y un psicoterapeuta. Algunos caerán en la pesadilla y otros despertarán... Leer todoLa oscuridad ronda una compañía de danza de renombre y enredará a su director artístico, una ambiciosa joven bailarina y un psicoterapeuta. Algunos caerán en la pesadilla y otros despertarán a tiempo.La oscuridad ronda una compañía de danza de renombre y enredará a su director artístico, una ambiciosa joven bailarina y un psicoterapeuta. Algunos caerán en la pesadilla y otros despertarán a tiempo.

  • Dirección
    • Luca Guadagnino
  • Guionistas
    • Dario Argento
    • Daria Nicolodi
    • David Kajganich
  • Elenco
    • Chloë Grace Moretz
    • Tilda Swinton
    • Doris Hick
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.7/10
    100 k
    TU CALIFICACIÓN
    POPULARIDAD
    1,721
    18
    • Dirección
      • Luca Guadagnino
    • Guionistas
      • Dario Argento
      • Daria Nicolodi
      • David Kajganich
    • Elenco
      • Chloë Grace Moretz
      • Tilda Swinton
      • Doris Hick
    • 784Opiniones de los usuarios
    • 379Opiniones de los críticos
    • 64Metascore
  • Ver la información de producción en IMDbPro
    • Premios
      • 28 premios ganados y 75 nominaciones en total

    Videos26

    Official Trailer
    Trailer 2:25
    Official Trailer
    Teaser
    Trailer 1:30
    Teaser
    Teaser
    Trailer 1:30
    Teaser
    All About Mia Goth
    Clip 1:25
    All About Mia Goth
    Director Hanna Bergholm on the Films That Inspired 'Hatching'
    Clip 3:08
    Director Hanna Bergholm on the Films That Inspired 'Hatching'
    "You're in a Company Now"
    Clip 1:22
    "You're in a Company Now"
    A Guide to the Films of Luca Guadagnino
    Clip 5:06
    A Guide to the Films of Luca Guadagnino

    Fotos561

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    + 556
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    Elenco principal41

    Editar
    Chloë Grace Moretz
    Chloë Grace Moretz
    • Patricia
    Tilda Swinton
    Tilda Swinton
    • Dr. Klemperer
    • (as Lutz Ebersdorf)
    • …
    Doris Hick
    • Frau Sesame
    Malgorzata Bela
    Malgorzata Bela
    • Susie's Mother
    • (as Malgosia Bela)
    • …
    Dakota Johnson
    Dakota Johnson
    • Susie
    Angela Winkler
    Angela Winkler
    • Miss Tanner
    Vanda Capriolo
    • Alberta
    Alek Wek
    Alek Wek
    • Miss Millius
    Jessica Batut
    • Miss Mandel
    Elena Fokina
    Elena Fokina
    • Olga
    Mia Goth
    Mia Goth
    • Sara
    Clémentine Houdart
    • Miss Boutaher
    • (as Clementine Houdart)
    Ingrid Caven
    Ingrid Caven
    • Miss Vendegast
    Sylvie Testud
    Sylvie Testud
    • Miss Griffith
    Fabrizia Sacchi
    Fabrizia Sacchi
    • Pavla
    Brigitte Cuvelier
    • Miss Kaplitt
    Renée Soutendijk
    Renée Soutendijk
    • Miss Huller
    Christine Leboutte
    • Miss Balfour
    • Dirección
      • Luca Guadagnino
    • Guionistas
      • Dario Argento
      • Daria Nicolodi
      • David Kajganich
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios784

    6.7100.4K
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    Resumen

    Reviewers say 'Suspiria' is a divisive film with strong performances, particularly from Tilda Swinton and Dakota Johnson. Critics praise its ambitious themes, visual style, and haunting score by Thom Yorke. However, some find it overly long, convoluted, and lacking cohesion. The reimagining of the 1977 original is both celebrated and criticized. Modern dance and political contexts in 1970s Berlin are significant departures from the original.
    Generado por AI a partir del texto de las opiniones de los usuarios

    Opiniones destacadas

    8KidMacabre

    Living With Dangerous People

    Disclaimer: Similar to another user review, I have to confess that I am EXACTLY the audience for this movie. I love Tilda Swinton, genre films, dance, anti-fascism, and Gothic horror. So take what I say with a grain of salt, I suppose.

    "We need guilt, Doctor, and shame."

    The scariest thing in the world (to me) is a person with no sense of shame. It's remarkably easy for some people to decide, 'I'm not responsible, I don't care if I hurt people or if people are hurt in my name, as long as I'm comfortable. As long as I don't see it. As long as I can justify in my head why those people deserved it. As long as I get to sit here, sip my tea, and not think about the bodies.'

    Such is the poison that consumes the Helena Markos Dance Academy, where the matrons who run the school prey upon their students. They put on a protective, motherly front to manipulate and destroy the young women who come through their doors. The youth believe the celebrated academy will help perfect their dancing capabilities. This lie masks a secret, nefarious plot - one the coven will gladly kill to protect.

    Luca Guadagnino's Suspiria has a lot on its mind - the German Autumn, modern dance, motherhood, witchcraft, psychotherapy - but everything comes back to a struggle with shame, especially as it applies to those with power. The witches at the academy were victims of the Third Reich, and have since devolved into their own form of fascistic groupthink. Fear of discovery drives the coven to commit atrocities. We are shown in grueling, bone-crunching detail the cruelty they are willing to inflict on dissenters, and then we see how shockingly happy and contented they are with what they've done. Evil is banal, and it does not occur to (most of) the matrons that they should feel even the slightest semblance of guilt.

    The only other authority figure in the film is Dr. Klemperer (played by the endearing "Lutz Ebersdorf"), a psychologist who survived the Holocaust. While his intentions are more noble than those of the witches, he still fails to take action when it counts and pathetically denies the blood on his hands. The message may not be subtle, but that doesn't make it any less palpable: We are all culpable when we allow unjust regimes to flourish. Shame can help save humanity.

    Guadagnino is more concerned with character psychology than Dario Argento was in his 1977 original. Every character actively pursues an agenda, and their individual journeys interlock in interesting ways. It's difficult to say there is only one main protagonist; we closely follow the progress of so many people. Guadagnino also shows way more compassion for his characters than Argento did. The sisterhood that develops between Susie (Dakota Johnson) and Sara (Mia Goth) is genuinely touching. So is the intense, symbiotic bond between Susie and her instructor, Madam Blanc (the incomparable Tilda Swinton). And of course, there's Klemperer on a mission to find and rescue his missing patient, a dancer tormented by the academy (Chloe Grace Moretz). Because there is sincere, deeply felt love for each of these characters, the terror visited upon them is all the more distressing.

    Many of the film's stylistic choices can be quite jarring, particularly in the VFX and editing departments. It's also 2.5 hours long and slow paced in sections. It's not for everyone, but then again, neither is the 1977 original. Guadagnino pays tribute to the free, punk rock spirit of Argento in his own unique way. Thom Yorke's music is also very surprising; singing on a horror movie soundtrack is a bold move. Yet nothing here feels out of place. The world of this film follows a well-defined, if unorthodox and challenging, aesthetic logic - in that regard, it matches the success of the original, which critics described as "A movie that makes sense only to the eye."

    The new Suspiria makes sense on a deeper level. For all its intellectual obsessions, the movie is first and foremost an emotional experience. We watch, helpless, as characters we care for are neglected, lied to, and murdered by their elders. With age and trauma, the adults have lost touch with their humanity, and now they commit selfish crimes whilst hiding behind a wall.

    People who say this movie "doesn't know what it wants to be" couldn't be more wrong.
    CinemaClown

    Too Long. Too Slow. And Too Far Up Its Own Ass.

    Gone is the exaggerated colour palette, the elaborate set pieces, the nightmarish soundtrack & the no-nonsense premise of the original. In fact, Luca Guadagnino's Suspiria departs from everything that made Dario Argento's horror classic unique, and is a dull, dismal & divisive remake that's exhausting, frustrating & one hell of a slog.

    Unlike the 1977 original, this one employs muted colours, shrivelled set design, slow-burn approach, hypnotic score & an unnecessarily drawn out narrative that piles one needless segment on top of another, resulting in an overlong flick that exceeds the original's length by a considerable margin, and will test the patience of most viewers.

    Aiming for more than a straightforward supernatural horror, Guadagnino retains the themes of the original but is more interested in exploring the political unrest of the depicted timeline, not because the plot calls for it but because he wants to. While some will admire his choice to not rehash the same story, others will argue that his reach far exceeds his grasp here.

    On the plus side, the eerie mood & foreboding aura never leaves the room, some kills are downright terrifying, the earthy tones do fit its depressing tone, that Volk dance sequence is truly a highlight, Make-up is top-notch, and Thom Yorke's score just fits. As for the performances, Tilda Swinton steals the show by taking the role of not one, not two but three different characters, and she excels at all of them.

    Overall, Suspiria does retain the original's title but everything about it is different. More a homage than a full-fledged remake, it is an abstract re-imagination that attempts to tackle themes & elements that it could've done without, and comes stuffed with an unwarranted subplot that's detrimental to the viewing experience. In short, Luca Guadagnino's Suspiria is too long, too slow & too far up its own ass.
    6arcanjl

    Weird as...

    WTF just happened?? I still can't figure out if I hated this movie or loved it. It is strange as hell. I guess it is a remake, never saw the original, so I don't have any incite there. I liked the premise, but hated a lot about it, but freaking loved the ending... but it took 2.5 hours to get there! Way to freaking long, I can say that for sure. Also, NOT a fan of contemporary dance.
    7kcmsterpce

    I respect that it DID ITS OWN THING as a remake

    Need another remake/reboot/reimagining of a classic horror movie that was effective because of the timing of its release... and deserves to keep its legendary status for the rest of time." Then I saw that it was 2.5 hours, and I was like "OMG, what?!" Then I watched it, and I was like "OMG, what?!" I think I'm going to watch it again, because I wasn't paying attention a lot of the time. However, this is one of those remakes/reboots/reimaginings that I respect. Why? Because it takes the CONCEPT of the original, and spins everything about, swirls and twirls it, then flips it up into itself, turning into a completely faithful representation of the term "REIMAGINING". I respect SUSPIRIA 2018. Granted, some of the makeup effects were pretty bad (especially the "old man", which I don't really think was necessary; and the silly makeup for one of the "old ladies" in the final act, which was worse). It is a little long in the tooth. It tries perhaps a little too hard to be artsy-fartsy... But it grabbed me. It pressed its filthy, dirty fingers on my windpipe in parts, and gently squeezed with wrathful intimacy. I felt dirty, yet couldn't help but feel enthralled in parts.

    I will say, though, that even if this movie was a complete FAILURE of a horror remake, I will gladly praise the fact that it tried to be its own thing. It wasn't a shameless ripoff. It really, truly IS a reimagining. We just don't get enough of those these days.
    7PotassiumMan

    Provocative, haunting, jumbled, extremely polarizing remake

    Large groups of people seem to either be awed by this film or utterly revile it. I, however, am willing to go against the grain and take the middle ground. This is neither a masterpiece, nor is it a disaster.

    It's a highly ambitious remake that attempts to weave political and artistic themes together into one cornucopia of fantasy-horror-historical expression, and unfortunately it only succeeds some of the time. Does this film bite off more than it can chew? One could argue that, but sometimes I'd rather a film try to do too much and partially fail than play it safe and thereby come out less memorable.

    What tends to give this film more bite is its ferocious dance sequences. I can only imagine how much work went into that aspect of the filmmaking. There is also a wonderful recreation of the sterile bleakness of late 1970s Berlin back when the city was still divided during the Cold War. As far as performances go, there isn't a false note. Dakota Johnson gives a nuanced turn as an aspiring American dancer who comes to Berlin in 1977 to join a world-renowned dance company, which just might be dominated by a host of witches. Tilda Swinton gives an equally disquieting turn as one of the dance instructors. Chloe Moretz Grace turns out to be under-utilized.

    Although some scenes don't feel as artistic as they could have been, this is still an arresting cinematic experience overall. Putting its inconsistency in execution aside as well as a seemingly winding conclusion, I recommend this film for those looking for something ambitious and off-the-wall.

    Director's Trademarks: The Films of Luca Guadagnino

    Director's Trademarks: The Films of Luca Guadagnino

    Suspiria director Luca Guadagnino takes IMDb through his approach to filmmaking, from longtime collaborator Tilda Swinton, to why he hopes he doesn't have a "style."
    Watch our guide to Luca's films
    Editorial Image
    5:06

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    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      Dakota Johnson completed 2 years of ballet training in preparation for her role in this film.
    • Errores
      The film opens in West Berlin in 1977, with protesters chanting, among other things, "Free Meinhof!" However, Ulrike Meinhof was already dead by that point. She was found hanged in her prison cell a year earlier than the film is set, in May 1976.
    • Citas

      Dr. Josef Klemperer: Love and manipulation, they share houses very often. They are frequent bedfellows.

    • Créditos curiosos
      Just before the credits end, Susie reappears and makes a small gesture to the camera.
    • Conexiones
      Featured in WatchMojo: Top 10 Best Horror Movies of 2018 (2018)
    • Bandas sonoras
      Fairest of the Season
      Written by Jackson Browne and Gregory Copeland

      Performed by Chloë Grace Moretz

    Selecciones populares

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    Preguntas Frecuentes21

    • How long is Suspiria?Con tecnología de Alexa
    • How much of this movie is spoken in English?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 11 de enero de 2019 (México)
    • Países de origen
      • Italia
      • Estados Unidos
    • Sitios oficiales
      • Official Amazon (United States)
      • Official Facebook (Netherlands)
    • Idiomas
      • Inglés
      • Alemán
      • Francés
    • También se conoce como
      • Suspiria: El maligno
    • Locaciones de filmación
      • Grand Hotel Campo dei Fiori, Varese, Lombardia, Italia(Dance Academy)
    • Productoras
      • Frenesy Film Company
      • Videa
      • First Sun
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • USD 20,000,000 (estimado)
    • Total en EE. UU. y Canadá
      • USD 2,483,472
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 184,037
      • 28 oct 2018
    • Total a nivel mundial
      • USD 7,956,877
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      2 horas 32 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Dolby Atmos
      • Dolby Digital
    • Relación de aspecto
      • 1.85 : 1

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