Criticism of 'To the Bones: Bones and All', the cannibal by Timothée Chalamet

    The love teenager it has accustomed us to longings and disturbances as raw material, since meat always carries complications (remember Catherine Hardwicke’s ‘Twilight’?). Playful, today Luca Guadagnino turns the sock inside out and builds a show of horror and viscera, which later dresses in skin-deep feelings. Based on a novel by Camille DeAngelis, it explains the initiation journey of two adolescents (cannibals) in search of something, or someone, to whom they can take root.

    This new ‘Bad Lands’ overflows with misfortune, although it opens a hopeful door: under the most absolute marginality, the one capable of hiding the trail of blood that Taylor Russell and Timothée Chalamet leave behind, new forms of family proliferate. We would like to explore the alternate parenthood of Mark Rylance, brooding caretaker, and the bromance between Michael Stuhlbarg and David Gordon Green, one a cannibal and the other not. The rib is juicy, but we never managed to gnaw on the bone.

    To subvert our fragile consensus between mind, gut and heart

    The best: that he is not afraid of the grandiloquence of love.

    The worst: the silly evolution of Rylance’s character.


    Address: Luca Guadagnino Distribution: Taylor Russell, Timothée Chalamet, Mark Rylance, Chloë Sevigny Country: Italy Year: 2022 Release date: 25–11-2022 Gender: Drama Script: dave kajganich Duration: 130 min.

    Synopsis: It tells the story of the first love between Maren, a young woman who is learning to survive on the fringes of society, and Lee, a homeless man with intense ideas who lives on the fringes. When they meet, they join a journey of a thousand miles that takes them through highways, hidden passages and back roads in the United States of Ronald Reagan.

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