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On a stopover at night, Maren learns there are others like her. As vampires were in the "Twilight" franchise, these flesh eaters are stand-ins for young outsiders—think "Bonnie and Clyde"— trying to find a home in a world of beauty and terror. "Bones and All, " too, yearns for a free, full-body existence. Rylance, an Oscar winner for "Bridges of Spies, " delivers a virtuoso performance as this aging predator who only feeds on those who are dying. Maren's road trip begins as a search for her institutionalized mother (Chloë Sevigny) from whom she's inherited her scary appetite. In Maren's self-discovery there's something elemental about alienation and self-acceptance — and how devouring another might save you from devouring yourself. Q&A with Luca Guadagnino, Taylor Russell, and Chloë Sevigny on Oct. 6. The result is something that feels both archetypal and otherworldly. But despite their best efforts, all roads lead back to their terrifying pasts and to a final stand that will determine whether their love can survive their otherness.

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Guadagnino, the Italian director, is one of our most lushly sensual filmmakers. But his words from that earlier film speak to much of "Bones and All. " And though "Bones and All, " adapted by Guadagnino and David Kajganich from Camilla DeAngelis' novel, is about their relationship, it's more striking as Maren's coming of age. It's a match made in cannibal heaven. You know, the ones without all the flesh eating. Follow AP Film Writer Jake Coyle on Twitter at: But don't be put off. Luca Guadagnino's "Bones and All" gives them that, and more, in casting Taylor Russell and Timothée Chalamet as a pair of young cannibals in a 1980s-set road movie that's more tenderly lyrical than most conventional romances. He makes feasts as much as he makes films. The movie, overwhelmingly, is in the eyes of Maren. When, in the opening scenes, Maren sneaks out of bed to visit friends having a sleepover, it's an extremely familiar set-up — right up until Maren's languorous kiss of another girl's finger turns into a crunching bite.

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Released: 2022-11-18. So it's both a hearty recommendation and a warning to say that he brings as much passion and zeal to the lives of the cannibals of "Bones and All" as he did to the ravenous eroticism of "I Am Love" and the lustful awakenings of "Call Me By Your Name. " In a cruel world full of fearsome characters more rapacious than they are — Michael Stulhbarg and David Gordon Green play a pair of particularly ghoulish hicks — they try to forge a love. Heartthrob Timothée Chalamet, with skills as sharp as his cheekbones, and Taylor Russell, an actress with a stunning future, play two fine young cannibals in "Bones and All, " now in theaters. This is the first of the Italian artist's films to be shot in America.

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On the table are an envelope with some cash, her birth certificate, and a tape recording of Frank recounting her first eating (a babysitter). Cheers as well for the mournful score by Trent Reznor and Atticus Ross and the camera poetry of cinematographer Arseni Khachaturan even though they can't make up for the strangely sketchy script by David Kajganich. "You can smell lots of things if you know how, " Sully says. "Bones and All, " an MGM release, is rated R by the Motion Picture Association for strong, bloody and disturbing violent content, language throughout, some sexual content and brief graphic nudity. But their relationship to society is different. Luca Guadagnino, who directed Chalamet to an Oscar nomination in "Call Me By Your Name, " is a master of seductive horror, alternately gross and graceful. Chalamet, reuniting with Guadagnino, is again in fine form. He's perverse perfection.

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Both films wrestle with what we inherit from our parents and what we sacrifice for the sake of conformity. These are reminders, I think, of power dynamics in the 1980s for all those who lived outside a narrow, heterosexual spectrum. They hold the emotional center of this outlaw lovers road movie like the true stars they are. That's the movie, which deserves to stay spoiler free such are the bombshells that Guadagnino drops without warning. But while there is certainly gore in "Bones and All, " there is also beguiling poetry. Drawing closer to Lee has an added layer of danger. "Bones and All" can ramble a little, but Lee and Maren's companionship together is as sweet as it is inevitably tragic. But the film isn't a neatly drawn parable. When Maren runs home to daddy, not for the first time, they hit the road in a flash. Particularly in its vivid, unforgettable early scenes, "Bones and All" digs into her dawning awareness of her cravings — who she is, how she got this way, what it will cost her to be herself.

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"Our hearts and our bodies are given to us only once, " he said in "Call Me By Your Name. " Adapting a novel by Camille DeAngelis, director Luca Guadagnino ( Call Me by Your Name) has crafted a work of both tender fragility and feral intensity, setting corporeal horror and runaway romance against a vividly textured Americana, and featuring fully inhabited supporting turns from Mark Rylance, Michael Stuhlbarg, Jessica Harper, Chloë Sevigny, and Anna Cobb. Leading her back to a nearby house, he explains the ways of being an Eater.
In an Indiana grocery store, Maren encounters Lee. Vampires had their day in the sun. He has his reasons, all of them bloody. Now, it seems to be cannibals' turn for their bite at the apple.

Soon, he's bent over a body in his underwear, with blood smeared across his face. You have the sense of seeing a movie that in shape and style reminds you of countless others. Based on Camille DeAngelis' young-adult bestseller, the movie—set in Middle America in 1988—is a tale of first love broken by an addiction stronger than drugs. In a startling, star-making performance, Taylor Russell plays Maren, a teenager who has just moved to a small town in Virginia with her father (André Holland). Sporting a mullet, a fedora and an unbuttoned shirt, his charismatic cannibal seems to be channeling James Dean. He certainly catches Maren's eye, who eagerly joins him in a stolen pick-up truck. The big plus is that you can't take your eyes off Russell and Chalamet. That doesn't stop Maren from opening a window and sneaking off to a slumber party where she snacks on the manicured finger of a new friend who freaks out. Will he kiss her or swallow her? "Whatever you and I got, it's gotta be fed, " he says. A mysterious man (Mark Rylance) beneath a streetlight introduces himself as Sully, and explains he could smell her blocks away.

It's the romantic sweetness of the two leads, even playing lovers ravaged by killer impulses, that carries you through their fiendish odyssey. Abandoned by her father, a young woman embarks on a thousand-mile odyssey through the backroads of America where she meets a disenfranchised drifter. Later, when he sings along to KISS' "Lick It Up, " she's a goner. Her father, Frank, is played by André Holland, an actor of such soulful presence I remain befuddled why he's not in everything. All the actors dazzle, including Michael Stuhlbarg as another eater and David Gordon Green, who directed the new "Halloween" trilogy, as a cannibal groupie. His role here couldn't be any more different. Rylance, with a drawl, a feather in his hat and gothic panache, plays one of the creepier movie characters of recent years. Russell, who broke through as a talent to watch in "Waves" and the Netflix remake of "Lost in Space, " impresses mightily as Maren, a shy teen living with her nomadic dad (Andre Holland), who curiously locks her in her room at night. Maren sees that Lee only munches on the wicked, but she's looking for a way to control and maybe even conquer her habit. At a deserted bus station, Maren is stalked by Sully (Mark Rylance), a stranger danger who dresses like a deranged country singer and sniffs her out as a fellow eater. If you've seen what Guadagnino can do with a peach, it should no doubt concern you what he might manage with a forearm. Seeking her mother, she buys a bus ticket and heads to Ohio. They aren't fighting it. His fraught family history ropes in other struggles of young adulthood.

Chaos ensues, Maren flees and when she gets home, her father's rapid response makes it clear this isn't their first time rushing to uproot. It's a brilliant breakthrough for Russell, who made a startling impression in 2019's "Waves. " She's never known her mother. Running time: 121 minutes. Stulhbarg, you might remember, had a pivotal role as the father in "Call Me By Your Name. "

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