Set in the 1980s, Bones and All film is a harrowing yet swooning beautiful story about first love and coming into one’s own. Luca Guadagnino’s road trip across the United States is observational but mysterious, political, and anti-nostalgic.
- Director: Luca Guadagnino’s
- Writers: David Kajganich (script by ) and Camille DeAngelis (inspired by novel)
- Producers: Timothies Chalmette, Marco Colombo, Giovanni Corrido, Luca Guadagnino’s etc.
- Music by: Atticus Ross and Trent Renzo
- Timothies Chalmette as Lee
- Madeleine Hall as Kim
- Ellie Parker as Jackie
- Christine Dye as Attendant (Corliss, MD)
- Taylor Russell as Maren
- Kindle Coffey as Sherry
- André Holland as Maren’s Father
- Sean Bridger’s as Barry Cook
- Burgess Byrd as Gail, the Nurse
- Max Solis as Mechanic (NE Gas Station)
- Chloe Sevigny as Janelle
- Jake Horowitz as Booth Man
- Michael Stahlberg as Jake
- Marshall Jackson as Boy Playing Ball Toss
- Marcia Dangerfield as Clerk (MN Gas Station)
- Jessica Harper as Barbara Kerns
- David Gordon Green as Brad
- Anna Cobb as Kayla
- Mark Rylance as Sully
All of them were pretty young. They had developed romantic feelings for one another. Humans were on the menu for them. In Bones and All, adapted from Camille DeAngelis’s 2015 novel of the same name, the traditional storyline of lovers on the run is a cannibalistic spin. Vampire-like mythology is at work here; it has been proven that these individuals are compelled to feast on the blood of the living.
The cannibals have an acute sense of smell and can easily detect one another. Maren Yearly (Taylor Russell), on the road to find her biological mother, meets Lee (Timothies Chalmette), a fellow people eater, and the two hit it off. Together, they travel across America in search of a haven and a second chance, eventually realizing that they are each other’s salvation despite the hardships they have faced along the way.
A convenient metaphor for the voracious American hunger and inclination for greed, cannibalism is set in 1988, when Reaganomics made America more unequal and revived the nation’s shattered spirit after a gloomy decade. To be clear, Guadagnino has no plans to engage seriously in politics.
There it is, though, mainly serving as a backdrop. The film’s primarily set in the breadbasket and manufacturing states, which are well on their road to outright poverty and resentful left-behind status, and this theme is apparent in the film’s subtle but depressing portrayal of decaying small villages that will never in millennia be the benefactors of their backbreaking labour.
What Happens In The Bones And All Film?
The question “What’s the vibe?” is critical in light of the widespread curiosity about the nature of a “cannibal love story.” Based on a teaser clip released on August 10, the answer seems “strange.” Even with the complete trailer released on September 29th, we still don’t know much about the story, but we see a lot of gore and longing looks.
So, you don’t think I’m a nasty guy. Asked Chalmette. Taylor Russell answers, “All I think is that I love you,” intercut with videos of Mark Rylance’s intense eye acting. The trailer emphasizes that there are dangerous individuals in this love story.
An unsettling sequence in which Michael Stahlberg and director David Gordon Green play cannibals Jake and Brad and admit to devouring their victims “bones and all” is more directly on this topic. They talk of the overwhelming strength it provides them as if it were a drug’s impact.
They are defined not only by their gluttony as individuals but also as a period in modern history characterized by spectacular selfishness, as exemplified by Gordon Green’s sickening persona. Spare no effort in focusing on one’s needs; self-gratification is the priority.
There are distinctions between Maren and Lee. Only what is necessary is taken, and they take no delight in killing. It causes them anxiety, pain, guilt, and unease.
Review: Graphic And Gore, It’s Not For The Weak-Hearted.
As with the finest horror films, Bones and All discovers beauty in the macabre, the subversive, and the twisted. It takes what is fleeting and turns it into something universal, brilliant, and genuine before our eyes.
Leonard Cohen once sang, “Love is the sole motor of survival,” Guadagnino would likely agree with this optimistic thought. However, as is typical for such stories, disaster is imminent. One may read the conclusion from the outset. As in, skeleton and everything.
Do you still think about Guadagnino’s “I Am Love” and the food porn shots? Do you recall how the camera painstakingly recorded every nuance of that intricate dish? Just picture how riveting it would be to see a person’s nipple being ripped from his chest with such precision and interest.
Like Guadagnino’s brutal version of Suspire, Bones and All doesn’t hold back on the gore. A horror fanatic like me was left gasping at the sight of human flesh being torn apart and eaten.
This bloody material starkly contrasts the film’s overall dreamlike vibe as it drifts from one state to another and from one month to the next in a blissfully foggy swirl of desire and crime.
Guadagnino uses repulsion at these cannibalism scenes to symbolize Maren’s internalized homophobia due to her upbringing in the Reagan era — a time when posh conformity was the rule and AIDS-stricken gay men died uncared for. Her father had instilled in her the belief that she should suppress her sexual urges, and for a long time, she had listened.
Maren discovers a surrogate mother in Lee while searching for her mother. She also discovers cautionary stories, such as a crazed redneck (the chilling Michael Stahlberg from “Call Me by Your Name”) and a zany elderly recluse (Mark Rylance, who is winsome and terrifying in turn).
But as she grows more comfortable with herself and the things she enjoys, the violent scenes soften. Her final murder is just as gory as her first, but how she films, it recalls a love scene by emphasizing tenderness rather than carnage.
Through this approach, Guadagnino shows Maren’s progress from dependence to independence to acceptance (not to mention fictitious cannibalism).
Do Bones And All Live Up To Its Hype?
At the end of the day, Bones and All is as unabashedly romantic as it is horrifying. Therefore, it’s not only an excellent horror movie but one of our top picks for the year 2022.