The stakes of love are often high, particularly in Luca Guadagnino’s latest film, BONES AND ALL, based on the novel by Camille DeAngelis. Guadagnino’s work has encompassed heart-wrenching romance (CALL ME BY YOUR NAME, 2017) and thought-provoking horror (2018’s SUSPIRIA remake), and he now combines the two in a tale of cannibalistic young nomads in love in the ’80s. His films are often complicated, if not impossible, to categorize in any sort of neat and clean way. When you think about it, love and horror can and should go hand in hand: an increased heartbeat…a struggle to gasp for breath…the allure of the unknown…all are symptoms of both fear and love. It’s messy, beautiful, uncomfortable, joyous, scary, and raw. Guadagnino utilizes this extremely well throughout his film.
Let it be known that this is not a movie for everybody. Categorizing it somewhere between romance and horror creates a genre all its own…honestly, one I don’t think I’ve ever seen before. The film can perhaps be considered horror-adjacent—less horror and more horrific. But there are elements of horror, nonetheless.
The film is less about cannibalism and more about harboring a forbidden urge and the repercussions of acting on this unavoidable, instinctive behavior. Don’t get me wrong—there’s plenty of flesh-eating. The film does not shy away from the gory imagery of humans devouring other humans but utilizes it symbolically to speak to anyone who has felt “othered.” It speaks to those who feel outcast and set aside…unwelcome within the cozy confines of society. Is it worth it to try and find your tribe, or is it best to live in solitude to protect yourself and others? That being said, if you’re squeamish about blood, it may not be the film for you.
The casting is excellent. Timothy Chalamet plays Lee, a troubled loner who’s running from an upsetting past. Once again, he proves his ability to take on intensely heart-wrenching emotion and make you feel it right along with him. Our other lead, Maren (played by Taylor Russell), is breathtaking in her approach to the material. Her portrayal of a homeless youth searching for answers about her origin is delivered with both caution and confidence. She is smart in the face of danger yet maintains a youthful and curious gaze at the world around her. Other notable cast include Mark Rylance as Sully; an odd vagabond Maren meets on her travels. His ability to seem simultaneously well-meaning yet unsettlingly creepy should not go unnoticed come award season. Jessica Harper (1977’s original SUSPIRIA) appears briefly yet impactfully, and another surprise appearance from a well-known offbeat actor will give indie film fans a satisfying shudder.
Set against the backdrop of a road trip from the east to the Midwest, the scenic design is gorgeous, showcasing a certain cautious freedom within the confines of our character’s troubling circumstances. A score by Trent Reznor and Atticus Ross (including a beautiful original song) drapes the film in angst and nostalgia. The film uses every single element possible to remind its audience of their first love.
The joy, wonder, and horror of finding that other human out there who sees you for all that you are and loves you anyway (or, perhaps, because of…) is undoubtedly what ties this film together. The gorgeousness of it is that it lets it remain messy, and this messiness is perhaps what I loved most. It doesn’t necessarily follow a traditional narrative format, instead letting itself unfold in what feels like a very natural and organic way. While it does run long at 2 hours and 10 minutes, I didn’t mind. I lost myself in the portrayal of these young outcasts finding themselves through one another, exploring the old adage that love hurts—and asking if it’s worth it.
BONES AND ALL is in theaters now.