Bones and All is a lavish, passionate, and brutal film by Luca Guadagnino. It is a beautiful work of American Gothic horror with surprising turns anchored in a rigorous human drama about a cannibal road trip with a mythology that is fleshed out similar to that of vampires or werewolves. It seems totally lived in even in its most sluggish moments thanks to outstanding performances from people like Mark Rylance, Taylor Russell, and Timothée Chalamet.
"Bones And All Flixtor" As a result, the film is sweeter and funnier than you'd think but no less heartbreaking. It starts off innocently enough in Virginia in the 1980s, where young mixed-race newcomer Maren adjusts to her new school and to her wealthy white peers, in spite of her father Frank's attempts to keep her hidden. When Maren goes away to a sleepover and, during a moment of physical and emotional intimacy with her classmate, gets carried away and bites her finger off, it becomes painfully obvious why he did it.
Frank's lack of astonishment at her bloody return home informs us that this has happened before. The final straw, as it were. A few months after they change their names and relocate to Maryland, he reluctantly leaves Maren alone in the middle of the night, leaving her with nothing but her birth certificate, which only contains vague information about her estranged mother, whom she hardly remembers, and a Walkman with a cassette tape explaining his actions and exposing details of her bloodthirsty past that he had long kept hidden.
In order to locate out her mother and learn more about herself, she travels while listening to his audio confession in little doses while taking buses and sharing rides. She is unable to listen to it all at once. This voyage, its encounters, and its rest stop act as a stand-in for a story of personal growth, one that is characterized by the same kinds of loneliness and romanticism that Guadagnino infused into Call Me By Your Name.
It's also rich with seething LGBT self-hatred, with an obvious but effective comparison to the film's portrayal of cannibalism, or "eaters," for whom indulging in consumption and excess can be characterized by guilt. The first time Guadagnino makes use of these emotions is when Maren briefly encounters a strange cannibal named Sully. Sully has a ponytail under a feathered hat, addresses himself in the third person, and sniffs our young runaway protagonist from half a mile away.
In addition to teaching Maren some of the fundamentals of "their" kind, Sully serves as a kind of queer elder who has seen the worst that the world has to offer and wants to prepare Maren for a life of survival in isolation. He also serves as a specter of a lonely future.
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