![]() ![]() Her portrayal of a vulnerable but feral lost soul gives the film its tender heart, as Maren wanders through a world peopled by untrustworthy adults (including one played by a magisterially disturbing Mark Rylance).Īrmie Hammer and Timothée Chalamet in Call Me By Your Name (2017). Bones promises to be her star-is-born moment just as Call Me… was for Chalamet. Its heroine, Maren, is mesmerisingly played by young Canadian actor Taylor Russell, who won the Marcello Mastroianni award for best young actor when the film premiered at the Venice film festival. He scored massively with younger viewers in Call Me By Your Name, which made an international heartthrob of Timothée Chalamet, and followed it with the underrated We Are Who We Are, an elegantly melancholic TV mini-series about American teenagers grappling with identity issues on a US military base in Italy.īones and All feels rather like that show’s dark double. (2005), a box-office hit in Italy, was an adaptation of a bestseller about teenage sexuality. Timothée Chalamet has managed to become this global star who makes people shocked by his sheer presenceīut Guadagnino has also consistently depicted the agonies of youth. Guadagnino is very much an adult director: I Am Love cast Tilda Swinton as a modern Madame Bovary among Milan’s upper crust their next film together, A Bigger Splash, was a brittle tragicomedy about the holiday pursuits of the bored and wealthy (Swinton has starred in four Guadagnino features, including his 1999 debut The Protagonists, and has said of their long-standing collaboration, “We’re like a pair of six-year-olds in a sandbox”). ![]() “I said, ‘What do you mean?’ They said, ‘It’s all about mourning the death of your father, mourning the impossibility of your relationship with your partner – it’s all about your aim for an idyllic impossibility of romanticism.’” ![]() Yet when Guadagnino had made the film, following a break-up with his male partner and the death of his father, friends who watched it said it was his most personal work. Guadagnino’s first US-set film, it’s based on a young-adult novel by Camille DeAngelis the script came to Guadagnino from his regular collaborator, screenwriter David Kajganich. The young cannibals of Bones and All are a disarmingly sympathetic pair: teenage Maren (Taylor Russell) and her beau, Lee (Timothée Chalamet), who travel across late-80s America, struggling to survive in a hostile world. It resonates with me, this concept that you might find yourself in a situation where you cannot control your decency.” “Cannibalism is truly upsetting, because to resort to that ultimate taboo in order to survive – it’s something that we all fear. But then, Guadagnino points out – speaking in English, with enthused professorial intensity – there’s also Hannibal Lecter, nightmare cinema’s ultimate cultured epicure. Flesh eaters, however, embody pure, ill-mannered appetite and are somewhat disreputable as screen ghouls, not least because of 70s-80s Euro-carnage films with titles such as Eaten Alive! and Mondo Cannibale. The cannibal is traditionally the poor cousin of horror cinema: vampires are seen as elegantly depraved aristocrats, zombies get respect as the oppressed proletariat, returning to wreak class vengeance. Photograph: Yannis Drakoulidis/Metro Goldwyn Mayer Pictures Taylor Russell and Timothée Chalamet in Luca Guadagnino’s new film, Bones and All. ![]()
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