He utilises Chalamet in largely the same way he did in Call Me By Your Name he’s slightly ethereal, slightly petulant, slightly androgynous and epicurean. Maren’s quest to find her mother is almost incidental, as Guadagnino lingers on the pair’s relationship. Maren and Lee drift through the Midwest as she tries to adapt to her new place in the world and to come to terms with what she is.ĭespite Maren’s frantic situation, Bones and All is very much in the tradition of the road movie languid of pace and often ambient in tone. As she makes her way across the country, she meets other ‘eaters’ like herself, principally the creepily eccentric Sully ( Mark Rylance), and Lee ( Timothée Chalamet), a young man with whom she begins a relationship. He also leaves her birth certificate, which leads to her beginning a search for her mother, about whom her father always refused to talk. Her father abandons her on her 18th birthday, leaving her a cassette tape explaining that she’s always had cannibalistic tendencies, which he’d covered up in childhood. Maren ( Taylor Russell) is a teenager forced to flee her home in Virginia after she hungrily bites her friend’s finger during a sleepover. Trusting that the book’s audience will be fine with the most robust of translations from page to screen, this is a solidly adult affair that has moments to shock even the hardened viewer. His first feature in four years remains in the horror genre an adaptation of Camille DeAngelis‘ YA novel Bones & All, here moulded into a twisted romance that’s as gory and as tender as a well-butchered steak.
Luca Guadagnino may have divided opinion with his severe, brutalist and Cold War-riddled take on Suspiria, but few would deny his skill with a nightmarish and memorable set-piece.
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