'To the bone. Bones and All': cannibals in love. well ok

A few years ago I found it hard or impossible to ignore a movie called

The unanimous chorus of praise led one to think that it meant the arrival of the messiah in modern cinema.

It was signed by Luca Guadagnino and was starred by a young and unknown actor named Timothée Chalamet.

It narrated a love story over the course of a summer in a town in Tuscany between a sophisticated and lived-in gentleman and a smart, flirtatious and presumably disturbing boy.

Everything was intended to be lyrical and subtle.

But I was immune to his publicized charm.

With the exception of a long, memorable and exciting sequence in which the boy's understanding and rational father asked his son not to run away out of fear or bewilderment of living that relationship to the fullest, of getting fully involved in the best he could. can offer life.

The rest, I immediately forgot.

They also raved about the actor who played the teenager in love.

It felt bad to me.

There was something very mellifluous and burdensome about that smartass.

I only liked it in the very pretty

Woody Allen offered him a very juicy character that he interpreted exemplarily.

This Chalamet cursed Allen when the media storm over him intensified, when producers and publishers disowned him for false accusations, according to two investigations.

But hey, the behavior of rats has always been the same in shipwrecks.

And this young actor who lovingly cultivates an androgynous image (Bowie used to do it too, but I listen to his wonderful music and I don't care about his methodology to cultivate the image) has become an absolute star.

His infinite admirers will know why.

More information

Luca Guadagnino: "I neither need to be included nor do I feel excluded, I do not want to belong to what is called normality"

And there has been the long-awaited reunion (for many, among whom I am not) between Guadagnino and Chalamet in

They continue to be romantic, although the nature of the characters is not exactly lyrical.

Here they are cannibals.

They are recognized by the smell of blood, they walk very alone and lost.

They only calm down by devouring the viscera of the first wretch they catch.

And I already know that Dr. Hannibal Lecter, who most enjoyed eating a human liver accompanied by a bottle of wine, as well as dialectically hypnotizing or destroying anyone who tried to enter his diabolical mind, was an unrepeatable seducer.

The tormented teenager in this movie and her punky boyfriend of hers are not.

You understand that they desperately need and love each other, but woe to those who cross their path when they are hungry.

They travel through the less aesthetic geography of his beautiful country, and Guadagnino films his continuous journey with a visual and narrative style in keeping with the spirit of independent cinema, far removed from Hollywood clichés.

In independent cinema there are good films and numerous inane nonsense.

Here, I follow the troubled path of the loving couple with relative interest.

Although they love each other to infinity and beyond and are so intimately vulnerable behind their ferocity, their passion doesn't rub off on me too much.

More information

Read all movie reviews

However, my interest and my concern appear when a luxury secondary named Mark Rylance fills the screen.

He was the poignant Russian spy in

Here he plays an elderly, desolate and disturbing cannibal, with an urgent need for blood, but also for the girl to pay attention to him and for company.

When he appears I am disturbed and fascinated.

The rest leaves me cold.

Down to the bones.

Bones and All

Directed by:

Luca Guadagnino.

Cast:

Timothée Chalamet, Taylor Russell, Mark Rylance, André Holland, Michael Stuhlbarg.

Genre:

horror.

Italy, 2022. 

Duration:

130 minutes. 

Premiere: November 25.

Subscribe to continue reading

Read without limits

Keep reading

I'm already a subscriber