#icons suzy bannion

[goryhorroor]

70s horror girls

[slashericons]

Suzy Bannion — Suspiria (2018)

[marklikely]

20 + 29 for the movie ask game!

29. a film to feel good/uplifted

ok apparently i don't watch a lot of uplifting movies so i had to think on this one for a while but i think i'll go with Saving Face as a nice romcom

A gay Chinese-American and her traditionalist mother are reluctant to go public with secret loves that clash against cultural expectations.

One of my favorite movies ever, where the main character has to both navigate wanting to be in a relationship while closeted, and also deal with her unmarried pregnant mother moving into her apartment unannounced. It deals a lot with issues of feeling unaccepted in your community for various reasons, but never gets too dark and miserable. It's mostly just a good comedy centered around really fun characters

20. a film where the vibes are immaculate

Well, the first that comes to mind is Suspiria (1977, not the 2018 one whose vibes are way more bland)

From the moment she arrives in Freiberg, Germany, to attend the prestigious Tanz Academy, American ballet-dancer Suzy Bannion senses that something horribly evil lurks within the walls of the age-old institution.

I'm adding the log lines for most of these movies, but in this case the plot really doesn't matter. This movie is about the Style. 70s italian horror is never afraid to do something that makes no sense as long as it looks cool. we have set design. we have lighting. also the score is iconic so that adds to the vibes.

this is just what i was able to find in like 30 seconds on google but honestly the rest of the movie looks better these are medium tier by suspiria standards.

[mattachinesocial]

Happy Anniversary to perhaps the most beautiful horror film of all time, 1977’s surrealist masterpiece Suspiria. A film about a German ballet academy run by a coven of witches and the young American girl Suzie Bannion (played by the underrated icon herself Jessica Harper (on a triple feature run of future cult favorites including Phantom of the Paradise and Shock Treatment!) . Co-written by Daria Nicolodi and directed by Dario Argento at the height of his powers the film is an alchemical mix of dream logic, theatrical artifice, bits of Italian giallo, and nightmarish witchcraft. It’s the kind of film that feels like a fever dream of sensory overload with it’s shockingly bold. super saturated colors, stunning production design, innovative and gruesome gore, and all propelled by the legendary score by Goblin that was probably in every dorm room and art studio I’ve ever been in. Not to mention fine AF young Udo Kier in a small role. It’s a peerless film. While the first of the trilogy of films on the “Three Mothers” neither of it’s two related “sequels” the mesmerizing if uneven Inferno (set in New York and boasting one hell of a submerged room set piece) not#r the much maligned and long delayed 2007 finale Mother of Tears come close to capturing the lighting in the bottle that was Suspiria. It’s the epitome of 1970’s arthouse horror. #suspiria #darioargento #threemothers #inferno #motheroftears #jessicaharper (at Los Angeles/Hollywood California) https://www.instagram.com/p/CoHrMNALaxo/?igshid=NGJjMDIxMWI=

[editfandom]

suzy bannion icons

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[filmphobia]

dakota johnson as suzy bannion in suspiria (2018)

[polyghoul]

♡ ♡ Transgender Final Girls icons (please reblog if you save)! ♡ ♡

[zamava]

Suspiria (2018)

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[wakeupdonniedarkoitsriley-blog]

Bisexual Suzy from supisa

[tibby]

top 5 final girls

this is personal preference and not the objective best (like laurie strode doesn’t make my list even though she’s one of the more iconic ones) but i WILL go to my grave arguing that my number one SHOULD be everyone’s number one:

nancy thompson: the love of my LIFE! i know i love the elm street franchise in all its ridiculousness so maybe i’m biased but i really do think nancy is the ultimate final girl. she defeats freddy simply by being like “i don’t believe in you, freak” and then kicks his ass a second time (even if she does die). and THEN heather langenkamp ALSO defeats him because wes craven accidentally brought him to life? nancy thompson is often imitated but never replicated.

sidney prescott: scream was the first horror movie i remember truly enjoying so sidney would probably make this list based on sheer sentimental value, but sidney is just. so good for so many reasons. smart and angry and traumatised and refuses to let anyone take advantage of her because of those things. neve campbell delivers every single time AND got to fuck skeet ulrich. like yeah he turned out to be the bad guy but still. it was a win.

wendy christensen: i think wendy’s ~final girl~ status is debatable given that she dies in most of the endings and her fate is deliberately left ambiguous. BUT. i think she is the most proactive character in the final destination franchise and easily the most well developed one, and i have a soft spot for mary elizabeth winstead. clear rivers could also qualify more than her but given that alex is also technically alive at the end of fd1...clear is not really a FINAL girl either. that’s what happens when your enemy is death itself i guess. and also makes me think about my concept of the Not Quite Final Girl but we don’t have time for all that just now.

ellen ripley: what is there to say that can’t be said about the queen...

suzy bannion: maybe not the most iconic one but she went about it in the most colourful way.

[theremightbecupcakespodcast]

Motherhood can be so complicated. This image (altered by me most lovingly) is Tilda Swinton as the Berlin Markos Dance Company senior instructor Madame Blanc, looking very much like a Madonna icon, and Dakota Johnson as the new, formerly Amish and mother-rejecting, dance company member Suzy Bannion (seen it several places at “Susie”; it was “Suzy” in the 1977 original) in the 2018 version of Suspiria. Have a listen to episode 53, Exquisite Mayhem, of There Might Be Cupcakes 🧁, at http://theremightbecupcakes.podbean.com/exquisite-mayhem (link in bio) This episode is a deep dive into the themes of identity, sleep and dreams and spellwork, and, of course, motherhood. Plus, I re-examine the fairytale the inspired the original director, Dario Argento: Little Snow White. #snowwhite #littlesnowwhite 🍎 #sleepingbeauty #fairytales #folktales #sleep #witchcraft #witching #suspiria #threemothers #books #amreading #bookstagram #bookpodcast #bookpodcaster #bookpodcasts #beyourownheroine #trypod #podcast #beyourownheroine #podcasts #theremightbecupcakes #horror #podernfamily #ladypodsquad #readersofinstagram #grimmfairytales #dakotajohnson #tildaswinton https://www.instagram.com/p/B2VF1kdpsmF/?igshid=1dxuh89lalmyr

[dailyhorrorfilms]

Requested: Halloween icons of Laurie Strode and Suzy Bannion

28 100px icons of Laurie Strode and Suzy Bannion

7 different textures/colors for each icon

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[theconservativebrief]

Bodies have limits, and dance kicks at them, trying to make the impossible look easy. The sounds of that effort are often masked by music, so it’s easy at times to forget the physicality of the dancers — to miss the thuds, the squeaks of sweaty skin skidding on the floor, the gasping and panting for breath.

Suspiria foregrounds that corporeality, mixing it with elements of the inexplicable, and the result is horrifying, maddening, transfixing, transcendent. It’s the most ambitious and unsettling and confounding and cathartic movie I’ve seen this year, with some of the most disturbing images I’ve ever seen in a movie, at once bone-cracking body horror par excellence, meditation on women’s power and history, tale of ancient occultish matricide, and worthy homage to the decades-old movie that inspired it.

It resists efforts at making “sense,” though there are plenty of keys strewn throughout to unlock its many secrets. But you’ll want to make sense of it anyhow.

Inspired by Dario Argento’s 1977 film by the same name — which, in turn, was inspired by Thomas De Quincey’s opium-fueled 1845 essay Suspiria de Profundis — this incarnation of Suspiria, directed by Luca Guadagnino (Call Me By Your Name), feels like new flesh molded around old bones and lit on fire.

Less remake, more regeneration, Guadagnino’s Suspiria retains its predecessor’s setting and setup — a prestigious German dance school run by a shadowy coven — but digs its hooks into elements that Argento’s film floated past. The result is something much scarier, more chilling, more menacing, and absolutely, wholly its own.

The ladies of the company at dinner. Amazon Studios

Guadagnino decided in concert with screenwriter David Kajganich (with whom he worked on 2015’s A Bigger Splash) to set his film in 1977, the same year Argento’s film was released. It begins when Patricia (Chloë Grace Moretz), shaking and disturbed, stumbles into the office of her psychiatrist Dr. Jozef Klemperer (played by “Lutz Ebersdorf,” but actually Tilda Swinton under convincing layers of prosthetics and cosmetics).

Patricia tells Dr. Klemperer that the Markos Dance Academy, where she has been studying, is run by a coven of witches, and leaves behind a satchel of her journals, in which she’s scribbled about the “Three Mothers”: Mater Suspiriorum (Mother of Sighs), Mater Tenebrarum (Mother of Darkness), and Mater Lachrymarum (Mother of Tears). Klemperer is sure Patricia is just delusional.

Then Patricia disappears. And Klemperer, growing suspicious, decides to investigate what’s happening at Markos.

The day following Patricia’s visit, ingenue Susie Bannion (Dakota Johnson) arrives from the Midwest to study at the famed German dance school and live in its dormitories with the other dancers, as in Argento’s original film. She meets Sara (Mia Goth), a wealthy student who was close to Patricia and is devastated by her disappearance.

Excited at first to be among her dancing idols, Susie soon realizes that something not quite right is going on, and the more she digs, the closer she gets to danger.

But while the original film was about Susie (Suzy, in Argento’s version) trying to escape the clutches of the dance mistresses in a ballet school, this is something much different. In this film, the dance company performs contemporary dance. It has moved from Freiburg to Berlin, a city that in 1977 was divided by a wall between the East and the West, as well as between older Germans who wished to forget what had happened only decades earlier during the War and younger Germans who insisted it must be remembered.

Susie’s arrival coincides with the German Autumn, when a series of terror attacks throughout the year culminated in several key events: The Red Army Faction kidnapped and murdered Hanns Martin Schleyer, head of the country’s main business association; three members of the Baader-Meinhof group died by suicide in prison; and a Lufthansa passenger jet was liberated days after being hijacked on the tarmac in Mogadishu. The country was on high alert.

Tilda Swinton in Suspiria. Amazon Studios

This all forms the backdrop of Suspiria, the swirling chaos spotted in the background on radios and TV news broadcasts. In the foreground is Susie’s integration into the academy, headed by the mysterious Madame Blanc (Tilda Swinton again), with whom Susie — who was raised in a Mennonite community in Ohio — has been quietly obsessed for years, watching films of the company’s dances so many times that she knows the parts by heart already.

The school is led by a series of matrons and populated by lithe young dancers, all trained to perform Blanc’s angular, powerful form of dance. And though the young woman is mostly untrained, Madame Blanc spots Susie’s talent instantly.

That becomes important when Olga (Elena Fokina), incensed at Madame Blanc’s suggestion that Patricia didn’t disappear, but left the academy to join the RAF, storms out of the academy. Blanc permits Susie to fill Olga’s spot in an upcoming production and — touching her gently — imbues her with some kind of preternatural power of dance that also, in a (literal) twist, turns out to be Olga’s undoing.

That’s merely where Susie’s evolution begins. And where Argento’s film had the character trying to escape, Guadagnino’s does anything but that. Instead, Susie is drawn deeper into what’s going on at Markos, and Suspiria builds nightmarishly, exploding into a wild, blood-soaked climax that solves few mysteries — but hints at many others.

Suspiria is more about dream logic than real logic, more web than timeline. That it starts the year Argento’s film was released feels right: The spirit that animates that one feels reborn in this one which, in a sense, is its point — a spirit of rebellion and subversion against authoritarian powers, particularly patriarchal ones. Female energy and crafty women working in secret, it suggests, are responsible for keeping the world’s creative heart beating, even while skirmishes and wars and insurrections fight to beat it down.

That its name and eventually its mythology are tied up with the idea of “supirium” makes sense, then — though in Latin the words “suspirium” (sighs or forceful breaths) and “spiritus” (the spirit) are separate, for most of ancient times the concepts of breath and spirit, or life force, were tied up together.

The same word is used for both throughout the Bible, for instance, in both Hebrew and Greek. Concepts like prana and qi (or chi) are also linked to both breath and spirit or life force. Breath starts life, and it ends when the breath is gone.

The Markos company performs. Amazon Studios

In Suspiria that life-giving force is carried by women, particularly by the Three Mothers of Sighs, Darkness, and Tears, and by those who serve them — including in the dance academy. So the film is rife with symbolism about nationalism (the dance the Markos group is performing is one that Blanc created in the wake of the war, meaningfully called “Volk,” or “people”), about women’s power against men (who in this film are often at the mercy of the dance academy mistresses once they step in its doors), and — perhaps most troublingly — about the complexity of that power yielded by women against one another.

And so I agree with other critics that I would have liked to have seen a Suspiria written and directed by a woman who was as deeply affected by the story as Guadagnino clearly was, and as willing to get tangled up in it and not try to untie it all. Perhaps we’ll get that version in the future.

In the meantime, though, it’s impossible to ignore how skillfully Guadagnino dove into the material and came up with something all his own. Argento’s version of the story is noted not so much for its storytelling — which can be lightweight and campy at times — as for its visual style, which pulses with bright and bold colors, wild lighting, and surreal camera angles.

Guadagnino largely sidesteps those for most of the movie, rendering a muted Berlin in greys and browns, and when he finally slips into Argento’s visual style it’s all the more terrifying by contrast. Argento enlisted the Italian band Goblin for his film’s iconic soundtrack; Guadagnino brought in Radiohead’s Thom Yorke, who delivers an eerie score.

And by leaving lots of plot threads tangled and unexplained, this Suspiria leaves us with far more unease. Dance and horror became allies long ago, when early ballets in the courts of kings and queens often involved stories about witches and deities, werewolves and spirits. Many of the most famous ballets in repertoire today are, essentially, horror stories — about broken-hearted swan-women, about princes imprisoned in wooden dolls, about women dancing men or themselves to death.

Dakota Johnson in Suspiria. Amazon Studios

In movies like Black Swan, filmmakers cannily turn the implied horror of these stories into horror films about women’s bodies and the history of dance, the pain and discomfort experienced en route to flawless performance, the exacting and sometimes abusive choreographers, and the rules that artists want and need to break.

That the new Suspiria is set among a contemporary dance troupe in a Berlin recovering from a war, grasped by an imposed rule, cowering from terror attacks, and grappling with its own sordid history makes for a perfect place to explore those same motifs.

And by its enigmatic end, Suspiria is troubling and grim and yet strangely mirthful, having opened wounds without much interest in closing them. This is not a film you untangle; it’s a movie you feel. That will drive some mad. For others, it will feel something like ecstasy.

Suspiria opens in theaters on October 26.

Original Source -> Suspiria reimagines a cult classic as a bone-cracking tale of women, power, and pain

via The Conservative Brief

[polyghoul]

♡ ♡ Demigirl Final Girls icons (please reblog if you save)! ♡ ♡

[flighticons]

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