Dancing the Dance of Another: Allegory, the Diagram, and Suspiria (2018).

The article analyzes Luca Guadagnino's 2018 film *Suspiria* through the lens of allegory and diagrammatics, focusing on how the film stages complex relations between dance, witchcraft, and radical politics within a Cold War Berlin setting. It employs Fredric Jameson's four-level patristic model of allegory—literal, typological, moral, and anagogical—to explore the film's narrative and formal structures, emphasizing movement as a central organizing principle that links bodily, political, and historical transformations. The analysis further engages with Deleuze and Guattari's concept of the diagram as an abstract machine that produces form and meaning, arguing that *Suspiria* enacts a transversal interplay between allegory and diagram, thereby reconfiguring traditional hermeneutic approaches to aesthetics, politics, and history. Ultimately, the film is presented as a meditation on identity, difference, and historical time, where aesthetic form functions both as a site of ideological meaning and as a productive force shaping historical consciousness.