The film is set in the 1980s in America. To The Bones: Bones And All tells the tale of the first love that develops between Maren (Russell) who is an 18-year-old woman who is trying to make it on the outside of society, and Lee (Chalamet), a homeless man. Disenfranchised and passionate, they are reunited to embark on a journey that spans thousands of kilometers that will take them on back roads and secret pathways of Reagan’s America.
Despite their efforts, their routes lead to their traumatic pasts and a final fight that determines whether their love will survive their differences. (Warner Bros. Pictures Spain)
Down to the bones: Bones and All starts by showing Maren’s struggle amazingly and surprisingly. It’s a scene that will stay in your memory and cause you to think about your hands in a way you’ve never thought of before. Unfortunately, the film slows down after this great opening and takes less exciting paths. It’s also about all that is centered around cannibalism. If they’d looked into this issue more thoroughly, it could be a dark film.
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This is why I have mixed feelings. I was looking for an intense horror film but ended up with a mediocre and bland road journey. I want to say that this isn’t an awful movie because of this, whether, however, or perhaps not. The story is well-developed and makes you desire to learn more about the love story of these two guys in the astonishing two hours and 10 minutes.
But, this romance with Taylor Russel and Timothee Chalamet does not take root. They’re trying to sell us a fake love affair which is built on the desire of both to not get into a frenzy. The connection between them is not important, and, unfortunately, it’s the thing that Luca Guadagnino has his attention to the most. It’s a shame, as the actions of the cannibals are extremely effective and keep the film from descending into melodrama.
I am happy that they did not skimp on the gore. Even though there aren’t many scenes, they’re good and are worthy of even the slightest hint of hunger out of your stomach.
Bones and All Forever cast
They appear in the well-famous and well-known films on the filmography list for Luca Guadagnino, Timothee Chalamet, and the charismatic Taylor Russell, who succeed in achieving a superb performance. The rest of the cast doesn’t give much to criticize as well, but Sully is the only one who, even though he’s not the main character, for me, is, Sully is the one who is carrying the entire film with him.
It requires a spot within the hearts of viewers, and every time Sully is shown on screen, you’ll find yourself enthralled by the story. Sully has the most charisma and an arc the characters are hoping to reach closest to. Every time he speaks, he gives the audience a frightening and unpleasant sensation but with a delightful, humorous touch. Excellent work. I’d like to have seen them invest the same effort in justifying the absence of a relationship between Maren and her father. I’d like to know what they would have conceived that a parent’s reaction to Maren’s circumstances would be. I was a little shocked.
In terms of the content, To the Bones: Bones and All fails to impact the films of Luca Guadagnino. However, it’s important to mention that the technical portion is always a delight.
The script that Luca Guadagnino has taught us to leave our mouths wide open. The common shots are very frequent, and the selection of natural landscapes over set creates the impression of a hostile and unknowable world. The distinctive camera movements of the director’s films, such as zooming and panning, smack your face at times to make you realize that, yes, this is an adaptation but that you are watching Guadagnino tell the story.
Incorporate the dreamy, mystical aspect where the montage is dazzling, particularly in Maren’s thoughts and perspectives. The use of cut-scenes is effective, bringing a debate over whether or not it is appropriate to keep the jumpcuts running through the film, and it is still being decided upon.
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Five years on from the premier of the famous novel adaptation Call Me by Your Name, Italian director Luca Guadagnino, and actor Timothee Chalamet have been working to create a brand new film adaptation based on another book, this time the novel by Camille. DeAngelis, the story’s title, has been adapted to the film: Bones & All.
The book is now available (for those who are avid readers and prefer printed images over printed ones) and in Spanish with 280 pages written by Plaza & Janes that have been translated into 131 minutes of video.
Does this movie long? We won’t lie to you: yes. There are times when it goes uphill, particularly because it starts quite vigorously, then it slows down until it gets to a long resolution bordering on being cheesy.
The Bones (a film not related to the one that stars Lily Collins and available on Netflix) goes back to the eighties and presents us with Maren, a teenager with a major problem her father isn’t sure how to handle.
In the prologue, which serves as the introduction to the characters and also the primary concept that the film explores where its best qualities and a significant portion of the sequences that have the most impact can be found (if you’ve been lucky enough to be able to go to the movie theatre without getting overwhelmed by the story).
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She leaves him with only a few possessions and a recording to explain how her troubles began. Maren is determined to be a solitary member of society, making some money by herself, until she is introduced to a charming mentor. : Sully.
Many road-trip movies focus on teenagers running away from murderers, in the vein of Badlands (1973) or Natural Born Killers (1994); however, there are very few films with cannibals. With “Hasta Los huevos (Bones and all 2022), which will be released on the 25th of November in theaters, Luca Guadagnino strays into the genre cinema scene again following Suspiria (2018), but in the same way, he takes it back to the romanticism of ‘Call Me With the name’ (2017), even touching on the queasy backgrounds in a coded fashion.
It’s not just due to the presence of Timothee’s Chalamet in the film but the compassion shown when confronting a romantic story on the fringes and using amazing cinema to explore the challenges of concealing. The director is based on a Young Adult novel by Camille DeAngelis that’s more like “Interview with the Vampire” than ‘Twilight’ in the story of self-discovery for adolescents with no apologies for the brutality of the human monster.
Taylor Russell stars as Maren, and an 18-year-old girl relocated to a small village with her father, Frank (Andre Holland), a local politician. She has few friends. However, she is invited to a sleepover and leaves, despite her father’s assurance that the windows are shut. Maren arrives at her friends’ house at night, where they can paint nails and talk about their lives. Maren takes a look at a potential partner with passion like they were about to be kissing; however, she cannot help to grab her finger and bite it like she was a Moorish skewer.
An initial impact that shows that the film does not have any issues being explicit and reveals the insanity of the cannibals that inhabit this world that transform their gender completely in just seconds, almost simultaneously, Maren’s life is shattered before her. He doesn’t know what happened and is forced to take an adventure to locate his mother and find out his story, which more or less keeps the heartbeat of the tale rumbling for more than two-hour.
The principal element that connects the story from the beginning to the conclusion of the tale is an audio tape his father recorded to describe his nature. It’s an interesting resource. However, it is discolored by the ease that teenagers find useful instances to study, so the information recorded on the tape ends up being useful but not impacting the movie.
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The road movie structure makes it simple for the protagonist to meet various people like her on the road. One of them is a man, Sully, played by a fantastic Mark Rylance, for a change and who smells her from a half-mile away and who wants to help her survive. She encounters the man of Kentucky, Jake (Michael Stewart Stuhlbarg), and his companion, Brad, none other than the director of the latest “Halloween” series David Gordon Green. A community is offering us clues and information about what is known as cannibalism, much like the sequel to the film ‘Crudo’ (Grave 2016)
During his journey, he encounters Lee (Timothee Chalamet), an 18-year-old man to whom he is instantly attracted as they have a bond of family and social uprooting. This sets off an adventure reminiscent of The Terence Malick film, which has been like ‘Night Travelers in which there are only a few moments with specific aesthetics and settings. The approach to cannibalism is very similar to the treatment of vampire cinema but with certain elements identical to El Ansia.
Similarly, the queer codification of bloodsuckers is a re-enactment of the Hollywood symbol of terrifying representation. “Hasta Los huesos” follows the tradition by introducing a story that takes place in the Reagan period but leaving clues of the present day, like the television clip of an aspiring Giuliani that brings us back to the dynamic of the 1980s for those living outside of the rigid heterosexual spectrum.
The literature on first love is vast, and so is the cinema that focuses on this symbol of memory, which is often romanticized and altered by nostalgia and idealization. The Bones Bones and All, by Italian director Luca Guadagnino (Call Me by Your Name), changes the concept and focuses on the romantic bond between two teens. However, it also adds a third ingredient in the form of cannibalism for the characters.
In this case, the fact that characters eat other people’s flesh is not an issue but something supernatural and inherent, which is evident in certain individuals. The filmmaker does not explain the fantasy element on its own and does not explore the motives or reasons behind it but uses the element as a catalyst to bring about the conflict. The cannibalism element unites the characters, who are lost and unfortunate in a world terrified by their cravings.
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The United States, the eighties, The eighties in the United States, the eighties in the United States, the America of the eighties, and the America of Donald Reagan. Maren (Taylor Russell) is a teenage girl withdrawn at home. One day, the girl decides to escape her family and take up the invitation of a few students from school. However, the night of sleepovers turns into tension when she puts an ice cube on the fingers of her neighbor. Following her father’s reaction, she cannot handle her situation and decides to leave her alone. And in the United States, Lee (Timothee Chalamet) has turned into a wanderer, only returning home from time to time to the dismay of his parents.
Love, feelings, guts, and a space to fit into
The Bones Bones and All is A film full of smells, images, and sound, sensory signals that travel across their bodies and affect the eyes of the viewer. Maren and Lee both Maren and Lee discover the ability to recognize their smells, to smell the metallic scent of blood, meat putrefaction, or the dreadful prospect of death. The film takes on a certain style of gore and horror at certain points in which it recreates the sound of blood splashing on the ground, tearing flesh, and breaking a bone.
Maren and Lee traverse the byways of rural America in an adventure on the road that sees the breathtaking natural landscapes juxtaposed with their deteriorating houses and personal preferences. The picture of this luxurious USA remains veiled in the photographs than through its narrative.
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The couple lives in the flesh, a tangible first love that is beautiful but full of romance, and reminisces about two lost people who society has left in the shadows and sunk in the mud of every road. It’s also a path towards self-exploration and self-discovery and a process in which they reflect on their experiences and surroundings and decide whether they can or need to be able to contain the intoxicating urges.