Same Sets, Different Story
Seven digital collages
In 1977, Dario Argento built a dance academy out of stained glass, geometric color fields, and walls in impossible red, yellow, and blue — the same year painters were staging their own revolt against Minimalism’s cool detachment, bringing back the figure, the myth, the raw feeling, in colors just as vivid. Suspiria‘s sets belong to that same reaction. Whether or not Argento’s crew ever named it, the instinct is Neo-Expressionist: maximalism as an answer to restraint, the body and the color turned up loud.
This series treats those sets as exactly that — a Neo-Expressionist stage, built for one story and left standing for another. The crew wraps, the coven’s story is told, and a different film moves into the same rooms before the lights come down. Same corridors, same saturated color, maybe a familiar face passing through frame — but this time the story is gay characters, gay storylines, a film Argento never made living inside the one he did. Seven scenes from that unmade movie, staged on a set too vivid, and too Neo-Expressionist, to strike after just one film.
