The remake of Suspiria was released in 2018 and I finally got around to watching it. Witchcraft, Satanism, Freemasonry, and the Occult!!! Find out what horrific symbolism was front and center…
***PLOT SPOILERS on PLOT SPOILERS on PLOT SPOILERS***
If you’ve listened to my podcast you already know I’ve got a soft spot for 70’s occult horror films. I spoke about Suspiria (the original Dario Argento film from 1977) back in July 2018 and the topic came up in my conversation with Robert Sullivan in November 2018.
The occult symbolism from the 1977 film was clearly pointing to occult influences, so I suspected the 2018 remake had themes as well.
Podcast now up!! Two Options:
1. Take a listen to my podcast treatment (and subscribe to the show so you never miss an episode- there’s a huge archive to catch up on!)
2. Watch the podcast with video clips:
Images from the 1977 Suspiria previously discussed:
We’ll get right into the 2018 Suspiria, but later in the analysis we’ll go back and re-examine the Argento trilogy, the Three Mothers, etc. so hang in there if it gets rocky.
Library of Madness
During the starting exposition we see a young woman visiting her psychologist. She has a severe reaction to one particular book:
I don’t speak German but the loose translation of this title is “Mysteries of Freemasonry.” The important consideration here is that the character focuses in on the main symbol on the cover- an all seeing eye and the compass and square (a foreshadowing of witchcraft principles “As Above So Below”).
We are left wondering why the woman has such an adverse reaction to the book- perhaps it makes sense when we witness the horrific ritual at the end of the film…
Another book the film focuses on is found on the psychologist’s desk:
This book should be tingling your senses because it’s our old friend Carl Jung!
The title loosely translates as Psychology of the Transmission. Since I couldn’t find that specific title in his catalog, I’m left assuming it is properly translated as Psychology of Transference (an actual book in Jung’s catalog).
Curiously this book describes Jung’s theory of transferring emotions; a behavior found in serial killers such as the recently popularized Ted Bundy:
“High-profile serial killers often transfer unresolved rage toward previous love or hate-objects onto “surrogates”, or individuals resembling or otherwise calling to mind the original object of that hate. It is believed in the instance of Ted Bundy, he repeatedly killed brunette women who reminded him of a previous girlfriend with whom he had become infatuated, but who had ended the relationship, leaving Bundy rejected and pathologically rageful (Bundy, however, denied this as a motivating factor in his crimes). This notwithstanding, Bundy’s behavior could be considered pathological insofar as he may have had narcissistic or antisocial personality disorder. If so, normal transference mechanisms cannot be held causative of his homicidal behavior.“
Alchemical Rabbit Holes
When our protagonist, Susie (played by Dakota Johnson from 50 Shades of Grey), enters into the dance studio we overhear other women talking about the strange disappearance of a fellow dancer. A curious choice of language was used…
We see them reference her going “underground”; a concept found in occult ritual to denote one’s rebirth into the new ways of the occult (or coven in this example).
It’s not until later that we see how dark this rabbit hole is for Alice…
The concept of occult rebirth is confirmed when the women enter the “IRIS” dance room (*note the reference to the All Seeing Eye again). Madame Blanc instructs the ladies that they’ll be learning a new dance; “a piece about rebirths…” called “Open Again.”
The final climax takes place as the coven conducts a nasty ritual to transfer the consciousness of the leader Helena Markos into the body of Susie.
The women are performing ritualistic dancing and the symbols are intended to evoke a theatrical environment (much like Anton LaVey suggests in the Church of Satan rituals). It’s also a curious comparison to the Baphomet:
Or could it be the “As Above So Below” of Eliphas Levi?…
Or is it the compass and square of Freemasonry as seen on the book cover at the beginning of the film?
Regardless of which symbol it replicates- I believe it represents a crossing over into another realm or even dimension. The dance and drums are Dionysian in nature meaning they are attempting contact with a higher power (*a similar trance like state achieved in the 1977 Argento’s Suspiria with its surreal environment).
The really disturbing part happens when Susie ‘wakes up’ and reveals that SHE is the Mother Suspiriorum (one of the “Three Mothers” worshipped by the coven). She is the harbinger of death and she comes to destroy the abusive coven of witches (and Helena Markos).
We need to dismantle this a bit more so let’s break it down:
Breakin it Down
The Three Mothers
In the storyline of Dario Argento’s original trilogy (Suspiria, Inferno, and Mother of Tears) we learn of an ancient trio of witches that perfected occult rituals and went underground. The trio was the Mother of Sighs (Suspiriorum), the Mother of Darkness and the Mother of Tears. The three mothers (or ‘maters’) are said to predate Christianity.
We first learn more about the trio at the beginning of Inferno when we hear about an Italian architect named Varelli who built three houses for witches such that the house would act as their five senses. The house is considered a new physical body. The tale claims to be a violation of the silencium or “silence” as Varelli reveals his alchemical background.
The problem with these witches are that they destroy everything around them in order to extend their lives- a very satanic, nihilist, selfish idea.
“To them we are nothing but dust.”- Varelli’s final words
The three ‘mothers’ are eventually revealed to be the embodiment of death itself- as is evident at the end of Inferno when the grim reaper himself breaks through; as well as Susie’s transformation at the end of 2018’s Suspiria.
**Bonus thought: We could also consider the Wicca worship of the “Triple Goddess” (Mother, Maiden and Crone).
In all of the films there are elements of occult transcendence as the characters explore hidden rooms and secret passageways. This is akin to going underground for enlightenment or down into the lighthouse tunnel as we saw in Annihilation.
Susie goes through the alchemical transformation by approaching her shadow (Carl Jung’s term for the inner darkness). We know this because she implies that she is a virgin when talking with Madame Blanc in the film, then as she learns more dance moves she becomes more erotic (clearly). Finally she assumes her full shadow as Mother Suspiriorum.
We also know there is a transmutation because Susie has visions of apparitions and shape shifting light whilst in the house (much like what happens in the 1977 version).
According to Carl Jung, the shadow dark side (or “Id”) is the unconscious part of Susie that she unlocked through the ritualistic dance. She gets glimpses of this entity throughout the film as she stays in the house.
We witness her final alchemical transformation into the ‘rising phoenix’ (*she’s wearing red) when Susie enters the final ritual chamber as Mother Suspiriorum.
Footloose: Satanic Dance Moves
The history of dance has a more occult purpose than one would realize.
Recall my article from 2015 talking about CERN’s dance of destruction (*dont be concerned, these scientists can be trusted…). It came from a video they released about a physicist named Lucas (LUCIFER) who evokes a goddess deity named Claron (which I tie to Shiva). The entity asks Lucas if he loves the particle more than he loves himself and if he could, would he become one with the particle? This concept of unity is a theme of occultism with neoplatonism as we’ll explore.
Researcher and friend of the podcast Jay Dyer provided a link to an academic piece on neoplatonic concepts in dance, and we can see how this plays out in this horror film (*note that he also has an analysis on Suspiria to check out!).
The document goes deep into themes of harmonics and unity; here are some notes.
- The world was created as ‘heavenly spheres’, rhythmic agreement and timed harmony- thus dance is primordial. From Pythagoras to Neoplatonism, they understood dance to be mystical and divine in nature. “Through the act of creation, time and space are the consequences.”
- **Could this be why Footloose was so opposed to Christians dancing??…
- They believe that before creation, time didn’t exist. Through dance of stars humans conceptualized time. Order was created from chaos through dance (harmonious movement of the heavens).
- Guglielmo defined dance with spiritual origins in concordance with perfect harmonies which relate to our intellect and emotions and give pleasure to find our exterior expression. Dancing is a manifestation of those feelings. A reflection of spiritual movements and in relation to nature (the measured sounds of music). Dance is a universal harmony is a chain between human and nature. In terms of Pythagorus and Neoplatonic philosophy; it relates to numbers and proportions.
- “Dance is a medium that unites human with the natural world, mind and body, intellect and feeling and different arts but especially the art of movement and the art of music.” The overall claim is that it educates humans on unitarian concept harmony which is also in neoplatonism.
To bring it back to the film, we could argue that Susie’s destiny is realized through the dance sequences. We can even hear the witches and Madame Blanc speak about how Susie is to be the vessel for another spirit (Helena Markos). There’s also a sequence where Susie almost kills another dancer through contagion magic- further emphasizing the connections of the supernatural realm and dance.
In Conclusion: Female Empowerment through the Occult?…
The ending to the 2018 Suspiria is quite different from the 1977 predecessor. What was curious to me was that it seemed more like the ending to Argento’s final piece of the trilogy- Mother of Tears. This could be a bit of homage that Guadagnino is paying to Argento (sort of like how Michael’s head flops over like a pez dispenser in Mother of Tears much like Madame Blanc does in Suspiria).
And what about that Dario Argento?…
His daughter, Asia Argento is the protagonist in Mother of Tears and she’s been a curious character ever since. I talked about her connections to the occult and Anthony Bourdain in June 2018.
Asia openly claims occult practices like witchcraft and demonstrates all the familiar symbols we’d suspect.
She was also in the news in 2018 when actor Jimmy Bennett alleged that she gave him alcohol and sexual assaulted him (he was 17 and she was 37). Photos of the two in bed surfaced on TMZ and there was some backlash since Argento was one of the key architects of the MeToo movement (she claims to have been sexually assaulted by Harvey Weinstein- which was depicted in a film called Scarlet Diva with occult-artist Joe Coleman playing the assaulter).
The idea I’d like to comb out for these connections between the 2018 Suspiria and Argento’s original trilogy is revealed in Mother of Tears (starring Asia Argento). We hear a dialogue from the alchemist talking about how black magic is a ‘good’ form of magic.
We can also see connections of Asia Argento with a modern feminist movement and the obvious parallels with female empowerment through witchcraft (popularized in many recent fictional works like Sabrina). The witch is an archetype of what it looks like to have a dominant, powerful woman. The argument we could hear for this is that women don’t have a strong role model since all “powerful” women are either taking on toxic masculinity elements or they get respect through their husband.
To oversimplify what I’m getting at here; is that the entertainment is trying to indoctrinate the masses to suggest that a woman can find strength through occult practices. It’s of no coincidence that there are literally no male actors in this film (the one male character- Dr. Klemperer is actually played by female Tilda Swinton in makeup).
I’m not hear to judge or say what’s right or wrong for a woman; I’m just saying the message on the entertainment is clear to me but I’m not certain everyone sees the scope of this thing.
They’d like to steer the desires of the masses towards these antinomian practices.
Just like we hear the alchemist say in Mother of Tears– it doesn’t matter which form of magic is used (magic’K’ as it were); the ends ALWAYS JUSTIFY THE MEANS.
Let’s finish off this analysis with some light hearted fun facts.
- Jessica Harper from the original 1977 film makes a cameo as “fake Anke” in the 2018 version.
- Dakota Johnson plays Susie- she was in Fifty Shades of Grey.
- One of the students at the dance academy is played by Angela Winkler who was also in Netflix’s Dark (a show I covered on the podcast). (*She’s of no relation to Henry “The Fonz” Winkler).
- Tilda Swinton plays not only Dr. Klemperer, but also Helena Markos.
- In the 1977 version we hear a dancer comparing Susie (and other girls with names beginning with an “S”) to serpents. Later in the film a doctor tells Susie that the coven of witches are analogous to a snake- all the power is at the head (Helena Markos). The serpent analogy is also utilized in the dance academy with the gold handrails. All of these point to the Luciferian archetype and the serpent.
- If you watch the final ritual scene while listening to Black Sabbath’s Iron Man it adds a layer of intensity
So what did you think about the film? What about that insane ritualistic ending?? Comment below.
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Former YouTube creator (10M+ views before being BANNED), website publisher of IlluminatiWatcher.com and top 5% Amazon author of THE DARK PATH; Isaac Weishaupt has been on the leading edge of conspiracy theories surrounding the elusive “Illuminati” and its infiltration of the entertainment industry. Using examples of familiar pop culture and works of entertainment, Isaac has been speaking and writing about the occult from a unique perspective that seeks to understand the big agenda while helping others along the way.
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