Suspiria may be a remake of the beloved 1977 Dario Argento film, but it has no problem establishing itself as its own entity. Abandoning the original’s lavish set design, director Luca Guadagnino awes us through a series of breaktaking dance sequences as the students at a sinister Berlin dance academy prepare to perform Volk, created by their instructors as a response to the trauma of World War II. When Susie (Dakota Johnson) arrives at the academy in 1977, she is quick to note the darkness permeating her new home, both inside the school and outside of it: the political climate in the city is turbulent. But the more Guadagnino attempts to subvert the negative stereotypes of female leadership, the more he succumbs to them, eventually reassuring us that Susie’s growing power is no threat to the patriarchy. A female director probably could have done something better with its themes, but Suspiria remains in thrall to the usual male obsessions with women’s purity and threatening sexuality.