Even though Argento expressed concerns, Guadagnino’s *Suspiria* feels like an atmospheric revisiting of the story. I think his reservations are perhaps overly serious, as it seems almost inevitable that a creator would find fault with how their work is reworked when dealing with established classics. The change in setting—post-war Germany—adds layers and concentrates the attention without getting bogged down in unnecessary details or winking at the audience. Even if another location had been chosen, I suspect critics would still seize on perceived flaws; the film avoids attempting to establish any explicit links, instead presenting contextual elements with appropriate weight and meaning. The two films are strikingly different in many respects, particularly regarding their visual style. Argento’s work has undeniably influenced countless filmmakers and helped define a genre. Now, four decades later, we have a heightened theatrical drama combined with a supernatural story that unintentionally pays tribute to Argento's suspenseful approach—a film designed for contemporary viewers. I really enjoyed the original music by Goblin and their other contributions to Argento and Romero’s films. Thom Yorke’s soundtrack, with its carefully chosen moods, occasional harmonies, and unsettling piano lines, works well. The visual nods to Argento are evident in elements like lighting, costumes, and retro design—a deliberate choice that isn't misplaced. I believe the film handles its underlying ideas effectively. It may not appeal to everyone, but it doesn’t seem intent on satisfying all tastes or clarifying connections between a timeless demonic gathering set against the backdrop of post-war Germany. Just let it unfold and you might sense its melancholy atmosphere and grounded quality.

Source on TMDB