Obviously, please avoid this article if you’ve yet to see Suspiria (2018).
Seriously. Turn away now.
To say the very least, Luca Guadagnino took his Suspiria down paths completely different from Dario Argento’s original classic, so much so that the remake is its own beast entirely. In the film’s insane final act, it’s revealed that Dakota Johnson‘s Susie Bannion isn’t the innocent Mennonite girl we thought she was, instead revealing herself to be none other than Mater Suspiriorum, the Mother of Sighs. According to Argento’s mythology, Mater Suspiriorum is the oldest and wisest of the Three Mothers… and yeah, we never saw that twist coming.
But the twist ending does leave one big question. Was Susie Bannion *always* Mater Suspiriorum, or did that transformation take place once she arrived at the Tanz Academy?
Speaking with Collider, Dakota Johnson offered some insights.
“That’s a great question. My perspective on that is I did make an effort to sort of leave that open for interpretation,” Johnson told the site. “So Susie’s evolution is very internal. It’s deeply internal, but the thing that draws her to Berlin to Madame Blanc is also deeply internal. There are so many threads of possibilities. She comes from a Mennonite family, which Mennonites came from Germany. She has sort of like denounced the church, her mother and her father. She does not … she just fundamentally does not accept the life that she’s been given, which a long time ago if you did that, you were a witch. If you were at all independent, if you thought independently, if you felt independently from your father or the church, you were a witch.”
The actress continued, “So there’s all these kind of like hints that Susie’s different but she doesn’t know. She just feels this pull, this magnet, this thing, to dance and she has to go to Berlin. She has to be with Madame Blanc. It’s like just she was born in the wrong place. I think that’s how she makes sense of it, like, ‘I just don’t belong here.’ Then I believe once she understands what is happening there is a very very subtle moment where I think she realizes what she’s meant to do.”
“I want the audience to figure out when that is.”