Bones and All Movie Review and Movie Summary (2022)

By contrast, an unfailingly charming Chalamet doesn’t stretch his emotional range much. He delivers a familiar reprise of other cool but secretly tortured young men who have become a staple in his still-nascent collection of roles in prestige fare.

Then there is the third key player in this “Nomad country“meets”Raw” turn: Sully (Mark Rylance), a strange eater who shows Maren the ropes at the beginning of her self-discovery as a cannibal. What makes Rylance’s supporting turn exceptional is that you never doubt that Sully is a person who really exists. There is a lived-in quality to his bizarre mannerisms, his heavily decorated clothing and other eccentricities. Blood-soaked, he shares with Maren the ecological memory he carries around to keep track of those he has consumed.

Guadagnino’s frequent collaborator Michael Stuhlbarg and director David Gordon Green, in a rare acting part, pops up for shocking cameos. They help cement “Bones and All” as an amalgamation of the Italian filmmaker’s tales of amorous complications such as “Call me by your name” or “A Bigger Splash” and his genre sensitivity put to the test in “Suspiria.”

Back to the meaning of the images that Lee and Maren encounter as they cross several states over the course of a summer: while these images reveal information about the people in them, they also lack depth and are limited in what they can tell us . That “Bones and All” opens with images of landscapes that exist outside the walls of Maren’s high school illustrates how these renderings are merely interpretations of reality. Likewise, the images only capture a brief glimpse of a person and not who they are fully outside the confines of that frame, and of the time it captures. People change.

“Bones and All” unfolds as a riveting, unwatchable experience for most of its running time. It’s easy to be mesmerized by its modestly lavish imagery, the believable chemistry of the volatile couple, and even the rattling bluntness of the graphic sequences.

But when the pair reach Maren’s original destination, Minnesota, and a confrontation with a family member ensues, the film loses steam, irretrievable from the choppy flashbacks that saturate the final act of Guadagnino’s latest. Even the heart-to-heart confession between the carnivorous budgies, in which they agree to attempt a peaceful everyday existence, over-explains what was deliberately left unsaid.

His metaphor that there is always someone out there who can empathize with one’s situation applies to any of the reasons we may feel ostracized, desperate to leave home, or deeply alone. Based on these philosophical concerns, as well as more obvious reasons for puns, “Bones and All” could just as easily have shared a title with another fall season release: “All the beauty and the bloodshed.”

Now playing in theaters.

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