At the cinema it’s the week of “Bones and All”: the protagonist of the weekend is the new film by Luca Guadagnino with Taylor Russell and Timothée Chalamet.
Presented in competition at the last Venice Film Festival, where Guadagnino won as best director and Taylor Russell obtained the Marcello Mastroianni Award, “Bones and All” tells the story of Maren, an eighteen year old who finds herself alone in the world after abandonment of the father. The girl has continuous impulses of cannibalism that force her to remain marginalized, always hidden from everything and everyone: one day, however, she meets a man who is the victim of the same terrifying situation and, some time later, a boy she will soon fall in love with. .
Inspired by the novel of the same name by Camille DeAngelis, Guadagnino sets one of his feature films in the United States for the first time and signs a road movie that has a lot to do with the American films of the New Hollywood: in fact, films such as “The Anger young” by Terrence Malick while following the path between the American states of these two boys, who leave behind them a long trail of blood. Guadagnino had already reached full maturity with “Call me by your name” and was confirmed with the beautiful – and equally controversial – “Suspiria”, two films which, together with his series “We Are Who We Are”, are strongly connected with this new work for various reasons.
A film that knows how to excite
The theme of cannibalism soon becomes a metaphor for the discomfort of growing up and human relationships in this powerful coming-of-age story which, among other things, is also an excellent love film, capable of touching particularly deep emotional chords. Thanks also to the remarkable soundtrack signed by Trent Reznor and Atticus Ross, “Bones and All” is a product of great charm, in which Guadagnino manages the editing times very well and excellently directs the entire cast: in addition to the two protagonists, Chloë Sevigny stands out above all , Michael Stuhlbarg and Mark Rylance, all called to play roles that are anything but simple. The overall rendering is incisive and full of suggestions: although some sequences require a rather strong stomach, those looking for a film capable of involving, to play intelligently with symbolism, he absolutely cannot miss it.
Tori e Locita
Among the novelties in theaters there is also the twelfth fiction feature film in the career of the Dardenne brothers, “Tori and Lokita”. The two Belgian authors have chosen to tell the story of two young migrants who arrived in Belgium after a long journey solo from Africa to Europe. She is a teenager, he is little more than a child: their bond is put to the test by the severe conditions in which they live. It matters little if the two characters are really brother and sister as they say , or if they met after leaving Africa: what matters is that we find before our eyes a sincere relationship between two very young people with whom it is easy to empathize from the first sequence. Tori and Lokita’s journey is increasingly dramatic , through a growing tensive climax in which the Dardennes, however, overload some sequences in the hope of being able to shake the viewer in every way. moral point of the filmography of the two authors (among their most beautiful feature films we should mention “Rosetta”, “Il figli” and “L’enfant”), with the center once again on young people forced to fight to survive and find their own place in the contemporary world. The style of the Dardennes, represented by an always very dynamic hand-held camera, is incisive but now devoid of the originality and breadth that their cinema had in the first part of their careers. The final sequence and some passages in the central part are noteworthy, but overall the overall design is too repetitive and struggles to enthrall as it should. Small curiosity: within the narration an important role is entrusted to Angelo Branduardi’s song “Alla fiera dell ‘East”.