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One of the opening scenes of “Bones and All” is filled with the sounds of flesh being ravenously consumed. Director Luca Guadagnino encourages the audience to turn their heads away from the gory feeding, sparing us the majority of the graphic imagery. He protects the victim’s humanity by pointing the camera at pictures of the ailing woman on vacation or with her family. Even if her body is currently being consumed by two hungry cannibals, her existence was important.
This gorgeous, rapacious coming-of-age romance develops a strong pattern around photographic evidence of a person’s past. These printed images, which are occasionally discovered in cars or hidden in drawers, serve as a reminder of the numerous facets—for good and bad—that one person may have. The perpetrators were themselves children, while their prey may leave families behind. Every bite contains an unsettlingly close communion.
Maren (Taylor Russell), who was eating people across state lines in the 1980s, is left on her own after her father abandons her at the age of 18 with nothing more than a cassette detailing her first cannibalistic experiences and her birth certificate. Similar to the father-daughter dynamic in the Swedish vampire drama “Let the Right One In,” their bond seems to be father-daughter. The parent attempted to stop the child from acting on her hunger after becoming aware of her urges.
Maren discovers, however, that her craving for human meat is a natural tendency that she cannot change but can only control now that she is in the open world. They recognize one another as “Eaters” by their distinctive scent. While some of these foreigners have rules that prohibit eating people who are similar to them, others take a less careful approach.
Guadagnino adapts Camille DeAngelis’ novel from the screenplay by David Kajganich, giving it an earthy mood that allows a love story to blossom without seeming out of place. The heartland of America in all its untamed, huge, and sparsely inhabited glory—swoon-worthy landscapes under purple skies—becomes the Terrence Malick-friendly playground of conflicted lovers. The landscape fascinates viewers through the skillful eye of cinematographer Arseni Khachaturan.
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Lee (Timothée Chalamet), an orange-haired eater who kills mercilessly, is the subject at hand. On his route to Kentucky, where the traces of his former life still exist, he meets Maren. The two debate on how to meet their demands as partners in crime who gradually develop into lovers driven by young zeal.
Maren travels through her newly discovered horizons with both innocence and guilt while a formidable Russell, who earlier astounded in “Waves,” shapes the performance. The anxiety of experiencing first love mingles with the ethical dilemma of her circumstance. Her awareness of the actions Lee justifies as inevitable while paying little attention to the dead so the two might eat, in turn, causes an ideological rift.
Chalamet, on the other hand, never fails to captivate, never really pushing his emotional boundaries. He presents a rehash of other cool, but secretly tortured young guys who have been a mainstay in his continually developing collection of characters in prominent material.
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The third major character in this “Nomadland” meets “Raw” journey is Sully (Mark Rylance), a peculiar eater who mentors Maren as she begins to understand what it means to be a cannibal. One never questions Sully’s veracity, which makes Rylance’s supporting performance stand out. His odd behavior, his garish attire, and other peculiarities all have a lived-in feel to him. He reveals the organic memento he carries around to keep track of those he has consumed with Maren while covered in blood.
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Michael Stuhlbarg, a frequent Guadagnino collaborator, and David Gordon Green, the director, both make eerie cameo appearances. They support the notion that “Bones and All” is a synthesis of the Italian director’s stories of romantic difficulty like “Call Me by Your Name” or “A Bigger Splash” and his genre sensibility tested in “Suspiria.”
Returning to the relevance of the photos that Lee and Maren come across while traveling across multiple states one summer, we see that while these pictures provide us with information about the individuals in them, they also lack depth and have a finite amount to say. It demonstrates how these representations are merely perceptions of reality because “Bones and All” opens with shots of artworks showing landscapes that exist outside the boundaries of Maren’s high school. Similar to how photographs only capture a fleeting moment of a person rather than who they truly are outside of that frame and of the period it immortalizes. People evolve.
For the majority of its running length, “Bones and All” plays out as a can’t-look-away, compelling event. Its subtly lavish visuals, the convincing chemistry of the volatile pair, and even the jarring bluntness of the brutal passages are all captivating.
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However, after the two arrive to Maren’s initial destination of Minnesota and have a confrontation with a family member, the movie loses momentum that can’t be made up for by the disjointed flashbacks that dominate the film’s concluding act. Even the passionate confessional between the flesh-eating lovers, where they decide to attempt living a peacefully ordinary life, oversimplifies what was purposefully left unsaid.
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The moral of the story is that no matter why we may feel isolated, compelled to from our homes, or profoundly alone, there is always someone who can relate to our struggle. In light of those philosophical preoccupations as well as more overt wordplay motives, “Bones and All” could have just as easily been titled “All the Beauty and the Bloodshed,” another film from the fall season.
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