After the exquisite lovesickness of call me by your nameWith his Oscar-winning portrait of a young, queer love found and then lost, director Luca Guadagnino made a surprising genre shift to horror for his next film. suspiracy. But a sequel just as unexpected as a remake by Dario Argentos Giallo classic could have seemed on paper, Guadagnino’s characteristic sincerity and depth of feeling made the film itself both an undeniable expression of his writing voice and the rare remake that refreshingly asserts its own unique identity.
With bones and allGuadagnino makes his second foray into horror and reunites with him suspiracy Screenwriter David Kajganich for an adaptation of Camille DeAngeli’s young adult novel that feels at once grittier and far more heartfelt than the couple’s first foray into the genre. There is no individual sequence bones and all as nightmarish as the one at the beginning suspiracy when Dakota Johnson’s dance causes a menacing intruder’s body to deform into a helpless, bone-crushed pretzel, but the sheer amount of torn flesh and bloody cheeks on display makes it a more graphically violent film than its predecessor. At the same time, however, what resonates most strongly is the haunting sense of loneliness and isolation that plagues its two adolescent cannibal protagonists, who find a much-needed connection to one another to offset their alienation from normal ’80s society. Era, Small Town America.
The term “cannibal” isn’t quite right, however – in the film’s own parlance, the characters who suffer from a genetic disorder that forces them to feed on other people in order to survive are simply referred to as “eaters”. . As the story begins, high school student Maren (Taylor Russell) is unaware that she is an eater and trusts her strict father (André Holland) to have his reasons for moving the two frequently from town to town and her before protect all social activities with peers.
But one night, as she sneaks out of her bedroom window to hang out with some school friends, she’s terrified that she becomes so overwhelmed by this hunger that she begins compulsively feeding on a friend before rushing off in a confused panic . Her father, who spent years preparing for this exact moment, quickly moves her to another city and soon after leaves her without notice, leaving a wad of cash and a tape he recorded to tell her the details and her story inform inevitable homicidal condition.
Maren learns the eater gene was passed down from a mother (Chloë Sevigny) she otherwise knows nothing about and embarks on a solo road trip across the vast Midwest to find her. A creepy old eater named Sully (Mark Rylance) finds her at a bus stop — seasoned eaters have the ability to recognize one another by smell — and shows her the ropes of the propelling, indoor-encroaching eater lifestyle he’s upholding. Escaping his grasp, she meets a confident, punk rock-style eater her own age, Lee (Timothée Chalamet), who eventually joins her in her search for her mother.
Chalamet became unforgettable in movie star status call me by your name, and for this second collaboration with Guadagnino, the director has given him a role that showcases both his unbridled cheekiness – the actor’s adoring fans go mad over an impromptu dance he performs at one point on KISS’s “Lick It Up” – and his touchingly raw vulnerability. but bones and all is even more Maren’s story than Lee’s, and Russell’s disarmingly pure and authentic lead deserves to be starred alongside Chalamet. As she previously demonstrated in director Trey Edward Shults’ overlooked family tragedy wavesAs a performer, Russell possesses an unaffected emotional directness. A big part of what makes the film so moving is watching Maren, imbued with that directness by Russell, smashing to cool school walls that Lee built to get to know and love him.
The film’s affection for its characters extends even to the sinister Sully, who desperately clings to Maren on a fatherly impulse he can’t channel safe and sound anywhere else. The reliably brilliant Rylance, outfitted with a rotten set of fake chompers and a dangling mop of hair, makes him a character even more poignant than spooky. As a result, the film’s only major narrative flaw is that it attempts to cram Sully in a confining “villain” box for a made-up climax that feels too conventional for an otherwise hand-crafted horror/romance gem that brews its blood unconventional manner combined with a penetrating sense of loss and melancholy rather than the demands of the mainstream horror formula.
A love story about two outcast teenagers finding themselves and each other, bones and all has so much in common with Guadagnino’s wonderfully lush HBO miniseries We are who we are like it with suspiracy. The beautiful Italian setting of this long-form project is obviously more inviting, although Guadagnino is just as impressive in rendering bones and all‘s haunted Central America. The dusty windows, half-evaporated puddles, and intimidating power lines clashing with pristine nature beautifully reflect the desolation felt by the marginalized protagonists.
Guadagnino’s impressive crew also deserve credit for shaping the world of film, including Nine Inch Nails frontman Trent Reznor and regular film composer Atticus Ross, who contribute an impressive score that imaginatively combines sparse acoustic strumming with intense synths -Blasts combined. As bones and all per se, it’s simultaneously freaky and heartfelt in a special, unique way.