Bones and all: artificial and deceptively cool [critique]

The reunion of Timothée Chalamet and Luca Guadagnino, five years after Call me by your name, leads to a sluggish road movie full of clichés.

We were vaguely curious to see Luca Guadagnino tackle a cannibalistic romance (the story of two young lovers who wander the American roads and stop from time to time to devour people) as there is clearly a dimension ” cannibal” in the work of the Italian filmmaker. The man eats at all the racks, he assumes it, loves the exercise of the remake (he “remade” The swimming pool and Suspiria), and had its greatest success (Call me by your name) by taking over the project from the hands of James Ivory. ” I love so much Suspiria that I wanted to devour it “, he slipped to us one day in an interview. But Bones and all absolutely does not theorize this very “greedy” relationship to the history of cinema. It’s actually hard to say what Guadagnino is looking for here: the film is indeed striking in its softness, its lack of momentum, its lackluster appearance. And that does not forgive in a genre (the criminal and romantic road-movie, in the wake of Badlands and lovers of the night) which traditionally plays on seduction, lyricism, energy. In the role of teenagers cursed, Taylor Russell and Timothée Chalamet are charming, but there is no chemistry between them. Guadagnino regurgitates a gothic-white trash imagery taken from Jarmusch and the Andrea Arnold ofAmerican Honey, a whole poetry of sordid alleys, shabby motels, grazing light at the end of the day and thunderbolts at the convenience store. But by dint of poses and shots, it turns into devitalised, artificial, deceptively cool imagery, confirming the very hollow nature of this cinema.

By Luca Guadagnino. With Taylor Russell, Timothée Chalamet, Mark Rylance… Duration: 2h11. Released November 23, 2022

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