For several months there was great curiosity about the new film by Luca Guadagnino, Bones and Allwhich premiered at Venice 79 with Timothee Chalamet And Taylor Russellprotagonists of a tormented and unusual love story.
Based on the bestseller by Camille DeAngelis, the film follows Maren and Lee, two teenagers who are not like all their peers. From an early age they have to manage an irrepressible impulse: they are hungry for human flesh. After Maren attacks a schoolmate, her father abandons her and she has to fend for herself. She packs all of her belongings into a backpack and begins traveling across the United States to find her mother. Along the way she meets some individuals with her own addiction who will change her life and the way she handles this dark need.
The screenplay, adapted from David Kajganich, explores an impossible love story between two social outcasts who come together in diversity to try to build a possible future for themselves. Difficult to pigeonhole Guadagnino’s film into one genre because there is the brutality and a good dose of the macabre that make it a disturbing and at times disturbing horror, combined with the drama of the subjects involved and the narrative development of a road movie.
However the identity of Bones and All it is confused, as if the director did not have a clear direction from the beginning and his own distorted romance didn’t upset the viewer emotionally enough. In fact, there is little empathy towards the young couple traveling to find their place in the world, perhaps also because Chalamet and Russell are convincing and magnetic taken individually, but together on stage they do not convey a particular alchemy.
Therefore, if the emotional component of the film staggers, the blood and the wild fury of these subjects hungry for human beings takes over, which can certainly shock from the prologue but nothing more. It also lacks that sensuality that in movies like this, like movies about vampires and werewolves, works by following a few simple rules.
Special mention for Mark Rylance who plays the role of a disturbing and morbid character, a Hannibal Lecter from the hippie/navajo look that collects braids of hats stolen from its devoured victims. When she meets Maren, he becomes obsessed and starts chasing her across the country. Bones and Allset in the late 80s, analyzes the pain and brutality of addiction and marginalization, but does not have the courage to go further and the result is a teen drama with powerful images but little content.
The irrepressible drive with which Maren and Lee have to live does not allow them to establish deep and lasting ties with others except with their own kind, and therefore makes the hypothesis of a “normal” future vanish. A kind of Twilight horror that reflects on the different, on the spirit of adaptation and survival in a rural and desolate American Midwest, but which does not involve.