By Arwin Thamilgnanan
4.5/5 stars
“You look like the kind that’s convinced himself he’s got this under his thumb. But you pull on one little thread and … but maybe love will set you free, man.”
Directed by Luca Guadagnino and based off the 2015 novel of the same name by Camille DeAngelis, “Bones and All” is something of a spectacle, whether through its vivacious cinematography, stellar performances by the entire cast, or its remarkable ability to balance genres, managing to create a romantic-road trip-horror film that works well on all three levels. However, it shines clearly through the various themes Guadagnino grabs hold of through the metaphor of “cannibalism,” somehow making a film surrounding the consumption of humans relatable.
Set within the 1980’s rural-midwestern U.S, the film follows Maren (Taylor Russell), who after being abandoned by her father (Andre Holland), attempts to find her long-lost mother whilst encountering “kindred spirits”, including the unsettling Sully (Mark Rylance), who was so well performed that I still see him when I close my eyes , and similarly disturbing Jake (Michael Stuhlbarg), unrecognisable from the endearing father from “Call Me By Your Name”. The central “kindred spirit” attains to Lee (Timothee Chalamet), whose connection to Maren makes the film what it is, a testament to both actors and their chemistry with one another.
Thematically, the film perfectly manages to weave in multiple ideas through the allegory of cannibalism. It is remarkable that it simultaneously invokes sentiments surrounding one’s identity, sexuality as well as addiction, but the crucial core painted is the sense of being “other” and finding love within that. It is this sentiment that ultimately remains with the viewer, even after the conclusive scenes.
“You want to be people? Let’s be people.”
Such themes are supported through the astounding cinematography by Arseni Khachaturan. Major utilisation of zoom ins/ punch ins alongside the vibrant and colourful outside settings of rural U.S strongly displays the personality of the characters, whilst the contrast from the darker scenes presents the murkiness behind them. The film’s soundtrack adds to this feeling, simultaneously elevating each scene, and sustaining the melancholic final scenes. Nonetheless, the film does hold faults within pacing, especially within the second third, but such criticisms can be overlooked by the beauty of the core relationship and settings. Concluding, “Bones and All” is an extraordinary realisation of “otherness”, though it must be stated that I do not, in no shape or form, endorse cannibalism (I promise).
Image source: https://deadline.com/2022/03/timothee-chalamet-bones-and-all-luca-guadagnino-mgm-amazon-1234984057/
