A minor, half-born, half-made thing--all-half, let's say--Rivette collaborator de Gregorio's debut as a director, however surreal it may be, is certainly sub-Celine. Seen shorn of its interest-by-association--not to mention its luxly louche high-Seventies miasma--it doesn't amount to much. Neither does it subtract from much. It's neither here nor there, really, which may be "the point." If so, it's half-taken.
2-3. Given the name, the movie surprisingly doesn't lean into the nature of the mansion to reflect much, aside from the condition that affects Agethe and Ariane. Setting that aside, Agethe is technically the most interesting character, with the others coming off a tad flat, if not loathsome (yes, even Eric). But the Suspiria-esque lighting is rather interesting, as are the twists and turns.
“Bigger inside that on the outside” can bring to mind cartoonish hammerspace, M.Poppins’ magic satchel or the Narnia cupboard, but Gregorio’s mansion with halls that, like urban streets, are directional as route yet static as a place, could be an emblem for one’s inner life. It’s not surrealism, but surdimensional buildup of the psyche. Or else, what is surrealism but apperception’s crux to weave together incongruous