There’s a lot of guilt in Luca Guadagnino ’s remake of Dario Argento’s 1977 horror classic, Suspiria , a burden of shame borne by a nation, Germany, that not so very long ago, heeded Hitler’s call to arms. The film unfolds against a backdrop of constant unease, be it political, emotional or spiritual. The specter of man’s misdeeds lurks in every corner, but nowhere is it more potent than at the Markos Dance Company. Kept alive and thriving through the war, a time “when the Reich wanted women to shut off their minds and keep their uteruses open,” the company has left its glory days behind by the 1970s, when the film is set. Headquartered in a cold marble fortress on the border of the Berlin Wall, the company is at once a haven, where women can freely express themselves through art, and a living, breathing nightmare where the sins of the past come to haunt the future.