Bones and All
2022 · Directed by Luca Guadagnino
Original language: English
- horror
- romance
- drama
The story
Abandoned by her father, a young woman embarks on a thousand-mile odyssey through the backroads of America where she meets a disenfranchised drifter. 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.
What it’s like
Washed-out Midwestern summer light, sunburnt fields and dusty gravel shoulders, shot with a loose, handheld intimacy that lingers on faces and hands more than on landscape. Luca Guadagnino's Bones and All moves like a road film that has been left in the sun too long: humid, slow, and quietly unsettling, with a sour-sweet ache under every stopover at a motel or a rural diner. Sound is sparse and organic, with insect hum, wind through tall grass, and Trent Reznor and Atticus Ross's pulsing, unsettling synth textures that surface only when dread is near. The vibe is melancholy, restless and tender, a dusk-coloured unease that suits a late-night watch alone or a long drive you can't quite shake off. The pacing is patient, with long quiet passages broken by sudden, brief and brutal violence, including gore and a disturbing bodily horror that lands hard when it comes. Its young lovers are drawn as outsiders searching for a place to belong, and the emotional arc follows their wary, hungry bond against family abandonment and self-loathing. Sexual content is present and frank. It is for viewers who want an intimate, morally uneasy romance that treats horror as a way of talking about hunger, loneliness, and the cost of wanting someone.
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