Venezia 79

The review of Bones and All, the film by Luca Guadagnino with Timothée Chalamet and Taylor Russell presented in Venice 2022.

Now subscribed to the Venice Film Festival, Luca Guadagnino bring your cinema back to the festival with Bones and Allselected to compete for the Golden Lion and reuniting it with Timothée Chalamet after Call me by your name. The film transposes the American novel of the same name to the big screen Camille DeAngelisadapted from David Kajganichformer writer for Guadagnino di A Bigger Splash And Suspiria.

On the road across the United States, the film follows Maren (Taylor Russell), an adolescent who leaves his home to look for his mother, of whom he remembers nothing. The young woman is looking for answers, haunted by a secret that is a salient part of her nature: she needs to eat human flesh. Convinced of being unique in the world for this “condition” of her, during her journey Maren she discovers that she has always been wrong by meeting several of her similar to her. Among them, Lee (Chalamet), who decides to help her in her mission and in which she will soon begin to see more than just a friend.

Bones and All: between the love story of Call me by your name and the horror of Suspiria

Somehow, Bones and All it seems a synthesis between Guadagnino’s two previous worksmixing the romantic encounter between two kindred souls told in Call me by your name and the macabre sense of horror aroused in Suspiria. The immense open-air locations recall the 2017 film, with the Lombard expanses replaced, however, by the clearings and mountainous reliefs of North America; long van journeys take the place of bicycle rides; although stained with the blood of the victims the protagonists feed on, the underlying love story remains that of two characters who, through their relationship, are able to give greater meaning to the surrounding world and to the place they occupy in it.

A difficult place to find for those who, like them, have always run away, trying to live with their own peculiar appetite. Hidden among the people, these “hunters” await the right moment to attack as if they were vampires, without however the hassles that afflict the Nosferatu lineage, being able to enjoy the sunny days and settle in front of the mirror without fear of not finding their reflection. Maren and Lee have none of the dandy vampire’s existential boredom Interview with the vampire or the aristocratic charm of a Gary Oldman in Bram Stoker’s Dracula. More like the great African predators, they are shown to tear their victims to pieces as if they were carcasses of downed prey, surviving but wondering at the same time if those who point to them as monsters are not right.

Luca Guadagnino throws a violence in the face of the spectator that is a metaphor for diversity

bones and all cinematographe.it review

Guadagnino does not hide anything of the gruesome banquets, flooding the scene with blood, showing torn strips of skin and limbs devoured to the bone. Voracious hunger as a metaphor for perceiving oneself as different, inadequate, as many feel while sailing on sight in the sea of ​​adolescence. However, if it is true that the director shakes with the images he creates, after wiping the cloth and cleaning the screen from the guts, Bones and All seems to reveal little more than a languid love story.

If nothing else, Chalamet confirms himself as an interpreter as young as he is capable of piercing the screen and his two step with the equally excellent Russell largely holds up the scaffolding of the film’s romantic arc. In the same way, Mark Rylance shows off yet another brilliant performance, giving face to an affable and disturbing character at the same time, among the most indelible presences of the film thanks above all to his own actor rather than to the writing, inserted by force in the adventure of the two protagonists.

Bones and All: a love story that turns on itself, made noteworthy only by the brutality that surrounds it

bones and all cinematographe.it review

The large spaces and long US freeways are the perfect setting for the story of two young people who wander the country in search of a missing parent but also unable to understand whether or not they are a mistake. Guadagnino knows how to photograph the sense of loss of his protagonists and the performers are equally effective in giving him faces, but in his wanting to talk about identity, lost adolescents and a rural America whose children seem abandoned to themselves, the film seems to turn on itself, clinging solely to the rawness that covers it. A brutality that instead of being an extra ingredient that enriches, ends up being the only element that can really make the title stand out from the many love stories between teenagers that Hollywood offers us every year.

Directed by Luca Guadagnino and competing in Venice 79, Bones and All the novel by Camille DeAngelis will be for the screen. The cast also includes Mark Rylance, Michael Stuhlbarg, André Holland, Jessica Harper, Chloë Sevigny, Francesca Scorsese and David Gordon Green. The release in Italian cinemas is set for November 23, curated by Vision Distribution.

Read also Bones and AllLuca Guadagnino and cannibalism: “My film has nothing to do with Armie Hammer”


Direction – 3


Screenplay – 3


Acting – 4


Photography – 4


Sound – 3.5


Emotion – 3.5

Venezia 79 – Bones and All: review of Luca Guadagnino’s film