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'Bone and Everything' Review: Tyler Russell and Timothy Chalamet in Luca Guadagnino's Tender Cannibal Romance

It may seem strange, but Luca Guadagnino in a fight between two cannibal wanderers Intimate Description of First Love s Central America, Bones and All, with some of the same soft, sensitive and mild naturalism he had in his HBO series about teenage slackers on military bases in northern Italy, We Are Who We Are . Even as they eat human flesh and walk away with bibs of blood and cartilage, the film portrays its protagonist – directed by Tyler Russell and Timothée Chalamet – not monsters, but rootless outsiders, eager to connect and satisfy their uncontrollable appetite.

Adapted from Guadagnino’s A Bigger Splash and Suspiria From 2015 YA adult fiction writer David Kajganich Camille DeAngelis, This is both a horror movie and a humanistic story about disenfranchised youth trying to figure out who and what they are, and ultimately just longing to belong. As such, the release of MGM/UA should find a particularly receptive audience among those still influenced by teenage self-knowledge paths. The director’s reunion with his Please Call Me By Your Name star Chalamet also doesn’t hurt its appeal.

Bones and all

Bottom line

Amazing lip balm that improves bites.

Venice Film Festival (competition)
release date
: Wednesday, November 140

Cast : Tyler Russell, Timothée Chalamet , Michael Stuhlbarg, André Holland, Chloë Sevigny, David Gordon Green, Jessica Harper, Jake Horowitz, Mark Rylance, David Gordon Green, Anna Cobb

Director: Luca Guadagnino
: David Kajganich, based on a novel by Camille DeAngelis

Rated R, 2 hours minutes

Bones and All, however, is Russell, Trey Edward Schultz (Trey Edward Shults) Revelations Waves . She plays Maren, a 140 year old who recently transferred to a Virginia ‘s new high school, she avoided yearbook photos but still longed for friendship. She sneaks out for the night despite her protective father (Andre Holland) locking her in a trailer room at night for reasons that will soon become apparent. When combined with Duran Duran’s quiet music, she relaxes into a state of dazed contentment — almost sexual intoxication — and does something startling that freaks out her classmates.

When she came home covered in blood, her father told her to pack what she could in three minutes so they could get there before the police came escape. This is obviously not the first time they have left in such a hurry. But at their next humble makeshift home in Maryland, Mullen’s heartbroken father abandoned her, leaving behind cash and a tape with details of her young life, from when she was a toddler. The carnage that the nanny starts, and the reason he can no longer take care of her.

Subtle mood and melancholic restraint – shaped in part by the quiet, acoustic foundation gradually established by the atmospheric soundtrack of Trent Reznor and Atticus Ross – are initially reminiscent of Tomas Alfredson Gorgeous Let the Right People In , another emotionally layered first love portrayal of a conflicted guardian and a female teen with different types of feeding needs.

The only other thing Maren’s father left behind was her birth certificate, prompting her to hit the road in search of her mother. (Kajganich changes the genders of the parental characters in the book.) Growing up believing that she is the only one of her kind, she meets the very approachable and disturbingly familiar Sully in Ohio, played by Mark Rylance, who maximizes Mark Rylance’s role, she was amazed, ridiculously cute and creepy at the same time. He said he recognized her scent from a mile away. The dying can provide food without killing. But after they shared the fresh meat and got together, Mullen sneaked away instead of accepting his company.

When she met another breeder, she preferred to stay closer to her own age, in Lee (Chalamet), Indiana. He puts on an aggressive stance (“When you call When the pounds are wet, you have to have a big attitude”) and be unapologetically pragmatic about the way he fulfills his needs. But when they start traveling together, including visiting his little sister (Anna Cobb) in Kentucky, he reveals a sweeter side that almost unwittingly creates romance.

Several key scenes surrounding this lean more towards traditional horror territory. One was meeting a hillbilly named Jack in Missouri (Michael Stuhlbarg, the other please call me by your name alumni) and his Ex-cop pal Brad (a rare role played by filmmaker David Gordon Green), during which an unspoken threat hangs in the air. The other is an interaction with the carnival worker (Jack Horowitz). Like the early Virginia scene with Mullen, this suggests an overlap between carnivorous and pansexuality, although Mullen remains morally opposed to destroying life despite the accidental discovery of the pain of strangers.

While not ischemic flow, and it’s a bit far-fetched to say cannibalism is handled, ahem, tasteful, gore-averse audiences are unlikely to be too irritated by these elements . That’s probably because Guadagnino makes an emotional horror movie. He’s far less interested in the shock factor than in the painful isolation of his young main characters and the life rafts they represent each other as they slowly let their guard down.

These aspects are represented by Russell and Chalamet with minimal public displays, but with a steady swelling under the skin – as the characters open up to each other about their past When traumatic, emotionally transparent, the chemistry between the two actors deepens, together in their endearing body language. Everything they do is light-hearted, unforced, and understated to subtle, stirring effect, and the filmmakers’ relentless sympathy for Mullen and Lee is infectious. It makes sense, one of the inspirations was the outlaw lovers of the badlands .

Late single scene with Jessica Harper’s character (updated her Suspiria with director acquaintance) and Chloe Sevigny (appearing in Who We Are ) expand Maren’s understanding of herself, but offer her no comfort. But the promise of enduring intimacy seemed to change the paradigm of her world, until an ambiguous character from earlier resurfaced, posing danger and threatening to end her probation.

Guadagnino’s seemingly disparate interests Romance and horror have never been so perfectly combined as here, against the ever-moving canvas of small-town America. Those left behind by the Reagan-era economic boom were captured by Belarusian cinematographer Arseni Khatchaturan (famous for Georgian films start).

For a dark, dreamy film that culminates in fresh bloodshed, violence and sacrifice, the ending is surprisingly moving, even poetic. That’s probably because, even though Kajganich’s script covers only a few short summer months, it seems to condense the experience of two young lifetimes, like all overwhelming first loves.

Full credits 1235090

Venue: Venice Film Festival (Competition)

Release: MGM/United Artists Releasing

Production companies: Frenesy Film Company, Per Capita Productions, and The Apartment Pictures, A Freemantle Company, Memo Films, 3 Marys Entertainment, Elafilm, Tenderstories

Cast: Tyler Russell, Timothy Chalamet, Michael Stuhlbarg, Andre Holland, Chloe Sevigny, David Gordon Green, Jessica Harper, Jack Horowitz, Mark Rylance, David Gordon Green, Anna Cobb

Director: Luca Guadagnino

Screenwriter: David Kajiganich, based on Camille Dee Angelis’ novel

Producers: Luca Guadagnino, Theresa Park, Marco Morabito, David Kajganich, Francesco Melzi d’Eril, Lorenzo Mieli, Ga briele Moratti, Peter Spears, Timothée Chalamet

Executive Producers: Giovanni Corrado, Raffaella Viscardi, Moreno Zani, Marco Colombo , Jonathan Montepare
Director of Photography: Arseni Khatchaturan

Production Designer: Elliot Hostetter

Costume designer: Giulia Piersanti
Music: Trent Reznor, Atticus Ross
Editor: Marco Costa

Casting: Francine Messler

Rated R, 2 hours minute

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