Suspiria establishes a pigmented alphabet, a lexicon of tonal variants and stained glass.
Suspiria casts us adrift, leaves us unanchored in a visual maelstrom of shadows, pigment, and saturated light. In Suspiria, primary colors act as the visual alphabet of a densely coded aesthetic syntax. We are assaulted with a triptych of royal blues, crimson reds; a violent terrain of tinted madness. Latent with visual associations, the diffuse red and blue floodlights point us to a realm of decay, mystery, and terror.
Patterns have a hallucinatory effect, and they are utterly claustrophobic. The spatial geometry of the academy is a hermetic riddle, impenetrable and opaque. The academy figures as a cryptic labyrinth of very patterned proportions. We try to trace a way out, to identify a point of reference, lost as we are in the film’s tyranny of symmetry. Suspiria has a tangible voyeuristic element and sees the viewer imprisoned in a shadow realm. Suspended in a bizarre reverie of witches, spells, and malice out plucky heroine tries to feel out an exit of her own.
The hallucinatory capacity of red, blue, and green have never been made so manifest – soak in the proof that Suspiria is the saturated visual experience you need.
