This review is part of our coverage of the 2022 New York Film Festival.
The Pitch: There is something slightly off about Maren (Taylor Russell) — when we first meet him, he seems like an ordinary teenager trying to finish high school and fit into his new environment. But soon a get-to-know-you sleepover (and a torn ring finger) reveals him for who he is: a “eater,” someone with an insatiable need to eat flesh. of man.
Consumed by the constant movement and pressure of caring for a dangerous woman, her father (André Holland) abandons her one morning, leaving only her birth certificate and a cassette tape detailing her account of their first years together. The rest, as he relates, is up to him.
Thus begins his odyssey to track down his long-lost mother and understand her nature, sending him across the Great Plains and the trail of other cannibals. Others are elder statesmen (like Mark Rylance’s eccentric Sully) who keep commandments like “don’t eat an eater” and comb the hair of their victims to remember them.
But others, like the rakish, troubled Lee (Timothée Chamalet), feel like junkies – driven by the smell of new flesh, unable to resist their urges. Soon, he enters into an idiosyncratic bond with Lee, the two learn to live and eat lunch together as they discover if there is more to life than their search for the next meal.
Cannibal Me In Your Name: In many ways, Bones and All felt like merging with Luca GuadagninoThe two major ways as a filmmaker: There is the luxurious, melancholic romance of Call Me By Your Name (a funny film with an actor alleged cannibalism) mixed with the blood-soaked horror of his 2018 Sigh make again. (David Kajganich, who adapted the novel by Camille DeAngelis, also wrote the script for the film.) But the two moods feel remarkably simpatico here, resulting in a surprisingly sweet — perhaps a little copper, too, because of all the blood – alchemy of love and murder.
Comparisons with Badlands and Bonnie and Clyde abound, and they are not that far away, with their tales of lovers who transgress human morality and create their own paradise for each other. It helps that the central couple is so charming, Russell’s cool, charming detachment (as in his fine work in Waves) who cringes next to Chalamet’s unbalanced opportunist.
They both run from terrible pasts, lean on each other in times of need, discover the world and themselves together one meal at a time. As they spend more time together, they serve as complementary forces, as in any good relationship: Lee gives Maren purpose, while Maren gives Lee room to be vulnerable. It’s enough that you want to see these two kids make it, even as you fear the next outcome that might be around the corner.