As he struts around a room singing along to KISS’ “Lick It Up,” it is electrifying, but when he turns on that same charm to pick up a carnival worker to make a meal of, it suddenly takes on a chilling resonance.

“Bones and All” is the first film to really harness Chalamet’s rock-star red carpet magnetism. In this way, the film somehow combines Guadagnino’s interest in body horror that he explored in his version of “Suspiria” and the romanticism of his “Call Me By Your Name,” the film that helped shoot Chalamet to stardom. The film is driven by a sadness, a mournful, haunted quality that covers even moments of freedom and joy. The two young “eaters,” as they call themselves, eventually attempt to stake out a semblance of normalcy and stability rather than staying on the road, until Sully reinserts himself into their lives. With a bit of cash, her birth certificate and a cassette tape on which her father tries to explain himself, Maren sets out in search of her mother, who she has never known.Īlong the way, she encounters Sully (Mark Rylance), who has the same compulsion to cannibalism and seems eager to take her under his wing, but she prefers to travel on her own until she meets Lee (Timothée Chalamet). The film doesn’t belabor the specifics of this strange hunger, leaving it as a central enigma for Maren to grapple with it makes her an outsider to society but also, in many ways, unknowable to herself. Teenage Maren (Taylor Russell) has been abandoned by her father (André Holland), who can no longer deal with Maren’s condition of being driven to eat people.

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Bones and all novel review