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Everything You Need to Know About Suspiria’s Post-Credits Scene

Dakota Johnson in Suspiria
Dakota Johnson in Suspiria. Amazon Studios

As you might expect from a post involving the words “Suspiria post-credits scene,” this post spoils the ending of Suspiria.

Wait, there’s a post-credits scene in Suspiria?

Yes, there is.

Suspiria, the two-and-a-half hour art-house horror movie from the director of Call Me By Your Name?

Indeed. Well-spotted.

Does it involve Nick Fury asking Susie Bannion to join the Avengers?

Hah. Great joke. In 2008.

Does it tell us how Amy Adams’ half-sister committed all those murders?

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A much more current pop-culture reference! But also no.

So what happens in Suspiria’s post-credits scene?

Well, it’s more of a post-credits shot. Specifically a shot of Dakota Johnson’s Susie Bannion in a hooded coat, in what looks like one of the Berlin dance academy’s hidden passageways.
She’s staring dispassionately at something in the upper right of the frame, and reaches out one hand, covered in a long black glove, to touch it. She turns her wrist to the right, and then to the left, then lowers her hand. She looks to her right, as if to check she hasn’t been observed, then briefly down at her feet, flicks her eyes knowingly upward, and then walks off screen to her left.

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Um, so … that’s it?

That is it.

Because when I clicked on a post titled “Everything You Need to Know About Suspiria’s Post-Credit Sequence,” I kind of expected to learn … something?

Well, I can speculate a little. The gesture Johnson makes recalls one from Dario Argento’s original movie, where you have to turn a piece of what looks like decorative molding to open the door to the coven’s secret lair. Given that we know by the end of the movie that Suzie Bannion is actually Mother Suspiriorum, the immensely powerful and evil witch the coven has been worshipping without knowing she was already among them, it could suggest she’s been secretly keeping tabs on them all along, perhaps in some kind of disconnected fugue state. It could also be a nod to the fact that Argento’s original movie was extended into a trilogy, including Inferno and Mother of Tears, and while Luca Guadagnino has made no indication he intends to remake either of those movies, he’s proven that he’s not averse to making follow-ups to films that nearly everyone else thinks he should leave to stand on their own.

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Do you really think it’s intended to point the way to future films in the Extended Suspiria-verse?

If you ask me, I think it’s a cool little bit of mood Guadagnino couldn’t find room for in the film proper, especially since it might have hinted at its big twist, but he didn’t want to let it go, and it also works as a sly joke on the proliferation of post-credit sequences, which now seem almost mandatory for genre movies whether they have anything to add or not.

I guess Luca Guadagnino isn’t known for leaving things out when there’s any way to squeeze them in.

[Taps nose with finger.]

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