But there’s also humour here – Maren’s realisation of her true nature comes at a disastrous slumber party – and crucially, there’s a real emotional weight. There’s a palpable threat, too, in the fellow “eaters” they encounter: Mark Rylance’s lip-smackingly grotesque performance as creepy loner Sully is particularly notable. And the act of feeding – tearing with teeth, face deep in the flesh of another human – is feral, animalistic and shameful. I broke nearly half a century of horror-movie avoidance to see this one because the book on which it is based, also entitled Bones and All, was written by. who coincidentally went vegan shortly before starting work on this novel, serves up a cannibal story that. Guadagnino doesn’t shy away from the visceral shock of their unspeakable impulses: both Maren and Lee spend much of the time smeared in the congealing blood of their victims.

Their survival depends on regular cannibalistic binges. This review was originally part of our Venice 2022 coverage. Bones and All, Luca Guadagnino’s YA road movie about a couple of lost souls who happen to be cannibals (it’s adapted from Camille DeAngelis’s novel), is a film in which the characters. In sixth grade, when Victoria Weaver is asked by new girl Caitlin Somers to spend the summer with her on Marthas Vineyard, her life changes forever.

What sets this film apart, however, is the fact Maren (a magnetic Taylor Russell) and Lee (Timothée Chalamet) are “eaters”. The backdrop for Bones and All is the 1980s, but it echoes the poor-eat-poor urgency of those other pictures, the poetic desperation of beautiful, rootless drifters taking what they need to survive. S trip the flesh from the bones of the latest film by Luca Guadagnino and the skeletal story framework is a familiar one: it’s an outlaw lovers road movie, sharing DNA with dustbowl odysseys such as Badlands and Bonnie and Clyde.

Bones and all novel review