While on a journey to find her absent mother, Maren crosses paths with Lee (Chalamet), a fellow cannibal who has grown used to the nomadic lifestyle for similar, if slightly more brutal, reasons as Maren. Yannis Drakoulidis/Metro Goldwyn Mayer Picturesīased on a 2015 novel by Camille DeAngelis, Bones and All follows Maren Yearly (Russell), a young girl whose cannibal urges eventually force her to set out on her own when she turns 18. However, despite all its technically impressive parts, there’s something missing in Bones and All, a film that feels surprisingly tame given the contents of its story. Its achingly romantic story feels akin to the forbidden romance the Italian director explored in Call Me By Your Name, while its instances of blood-soaked violence inevitably call to mind the moments of body horror present in Guadagnino’s 2018 reimagining of Suspiria. In many ways, Bones and All feels like an inevitable mixture of the romance and horror genres that Guadagnino has played around with in the past. Joining them on the trip is Taylor Russell, a long-promising young star who is, at long last, given the spotlight she deserves in Bones and All, which casts her and Chalamet as a pair of nomadic cannibals struggling to find a place in a world populated by humans who, understandably, have little interest in being eaten. The film, which was shot on location in Ohio, reunites director Luca Guadagnino with his Call Me By Your Name star, Timothée Chalamet, on an adventure that takes the latter’s young, conflicted character across multiple midwestern states. Bones and All is a curiously twangy, blood-stained addition to the canon of American road movies.

Bones and all novel review