Bones and All (2022) dir. Luca Guadagnino // The Girl Aquarium by Jen Campbell

Suspiria, 2018

Tobias is just... he is one of the humblest people I know. He works everyday at trying to be a good person and be a good steward of the power he has in the world and bring richness to other people's lives. He's a beautiful person. So handing him a character who is so... who has decided to live a life that is performative is so unlike Tobias. At least Tobias I think I know. I'm not surprised in retrospect that he gave Fitzjames the benefit of the humanity that he naturally has as a person. By making sure that the performance (of Fitzjames) was not truly at anyone else's expense. It allowed Tobias and the audience to understand, yeah, this is a character full of contradictions. He's very brave in certain situations but seems hesitant in other situations. He is most comfortable being at the center of attention but only when he's not who he truly is. I mean, there are lots of ways that this character is fractured. But I think what Tobias did was so lovely. He took the cues from the scripts and created a character, a version of this hidden, frightened kind of man who's sort of been let down by the real circumstances of his life and built a different life for himself. He made out of this character, the version he can love best. And I think that's why his last episodes are so moving. Because you understand when he does, that he can, that there is something to love in himself. And that he's been avoiding looking at himself directly for so many years, he doesn't know how. And when the circumstances, and Crozier by example, and other things teach him how, he's ready to do it. And I think that's something Tobias brought to this — a readiness for Fitzjames to love himself when the moment came. Which made him, guided him to sort of slightly recalibrate some of the things that were in the script. So smart, these actors... honestly, every one of them. What a joy. @

lee and maren in the bones and all screenplay by david kajganich

‘Bones and All’ screenwriter David Kajganich discusses how Timothée Chalamet's generosity impacts the new movie:

“[Timothée] understood that he wasn't the central character of the film, and he decided out of the gate that he would play defense for this film in a way that I find really touching and moving. Actually, the way that he has elevated Taylor [Russell] in the process has been really gratifying to see. I have to remind myself how young Timmy is because he has a real level of emotional maturity and a real level of compassion for the world and for the people he works with. He's just very special in that sense.”

“It felt like he really understood that he was a pivotal part of this film, but that it really the story is about Taylor's character, and the journey she goes on is the journey that the audience has its primary emotional connection to.

-David Kajganich, (Screenrant, Nov .7, 2022)

It (2017, Andy Muschietti)

24/04/2024

285 - A Bigger Splash

We're stoked for Challengers this week, so naturally we're talking about one of our favorites in the Luca Guadagnino resume, 2016's underdiscussed and hot as hell A Bigger Splash. Premiering at the 2015 Venice Film Festival and playing internationally in 2015, but opening late spring 2016 in the States, A Bigger Splash is a rock-and-roll-inflected tale of sex and ego that loosely remakes La Piscine. With a foursome of stellar performances by Tilda Swinton, Ralph Fiennes, Matthias Schoenaerts, and Dakota Johnson, the film earned strong notices especially for Fiennes' bawdy dance moves, but category confusion and the spring release hindered his chances.

This week, we talk about the film's portrayal of desire and deception, and how slyly the film weaves in themes of morality. We also discuss Tilda's vocal acting choice, Johnson's career emerging from 50 Shades, and the 2015 Venice jury. And we reveal the topic for the coming May miniseries!!

Topics also include poolside etiquette, adult braces, and Regina King being edited out of Beastly.

The 2015 Venice Film Festival

The 2015 Academy Awards

The 2016 Academy Awards

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the terror (edward berger, tim mielants, sergio mimica-gezzan, 2018)

ADAPTED SCREENPLAY

THE NOMINEES ARE:

BONES AND ALL, screenplay by David Kajganich

MAREN We should feel something. ‘Cause we murder people. We steal their stuff, we move the fuck on, and we ruin lives that we don’t even see…

LEE Come on, why are we talking about it like this? We gotta do this! We have to do it!

MAREN Talking about the future, talking about being a friend to yourself… You don’t have that. This is too much. We got 60, 70 years of this?

CATHERINE CALLED BIRDY, screenplay by Lena Dunham

BIRDY It is in this field I raged, and dreamed, and met Aelis in secret, and cried over uncle George and over the fate I have been able to trick, just a bit. There is the goat barn where I met Perkin when I was but a babe, hiding from Morwenna’s silly slap. And here is where the smell of bread is so strong it makes me want to eat the whole entire world as if it were a mere loaf. And some day I will take my little sisters to the tippy top of the village and say "run, little girls. Lift your skirts and run for everyone to see."

HAPPENING, screenplay by Anne Berest, Audrey Diwan, and Marcia Romano

DR. RAVINSKY I don’t approve, but I understand your reasons. Being an unwed mother isn’t easy. You’re young, with your whole life ahead of you.

ANNE I’d like a child one day, but not instead of a life. I could hate that kid. I could never love him.

DR. RAVINSKY I wish I could tell you that it worked.

WOMEN TALKING, screenplay by Sarah Polley

AGATA None of us have ever asked the men for anything. Not even for the salt to be passed. Or to take the washing in, or to open a curtain, or to go easy on the small yearlings, or to put your hand on the small of my back while I try again for the 12th or 13th time to push a baby out of my body. Isn’t it interesting that the one and only request we women would have of the men would be for them to leave?

AND THE CRISTAL GOES TO…

AFTER YANG, screenplay by Kogonada

YANG I wish Chinese tea wasn't just about facts for me.

JAKE What do you mean?

YANG I like watching the way you make tea. It's very beautiful. The way the leaves bloom and float and fall. I wish I felt something deeper about tea. I wish I had a real memory of tea in China. Of a place. Of a time. I think this would...

JAKE ...What?

YANG Sorry. I lost my train of thought.

JAKE Are you happy, Yang?

YANG I don't know if that's the question for me.

"I want you to eat me. Bones and all."

"Bones and All" (2022) dir. Luca Guadagnino

Edit by @jonathanbook12

one thing that's really funny to me about all the analysis and meta over the scene from the terror where fitzjames holds the dress up to his body during the carnival is that when a group of students asked david kajganich, the showrunner, about it, he, a gay man, told us explicitly that there's no underlying subtext about queerness in that scene...it was simply customary for men to dress up as women during silly carnivals like that as a type of comedic performance (and we can see the effects this has had on modern british conceptions of "men in dresses'' centuries later but i digress).

anyway that doesn't mean we can't do queer readings of that scene, especially in light of the intimacy and push and pull of fitzjames' relationship with crozier, but it is really funny that so much of the queer reading of this character centers around that stupid dress when it really was more about the fact that fitzjames felt he had to represent a more masculine picture during the carnival in light of the circumstances, to be strong for his men. then again, this is inherently dealing with ideas of gender, and therefore implicitly, sexuality. so even if kajganich meant nothing by it in a gender-nonconforming way, it still is read as such.

- You protected the people that you love. - You don't think I'm a bad person? - All I think is that I love you.

Bones and All, Luca Guadagnino (2022)

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Bones and All will open in New York and Los Angeles on November 18 before expanding nationwide on November 23 via MGM. I’m giving readers in the Boston area the opportunity to see it early - and for free!

Broke Horror Fan is sponsoring an advance screening of Bones and All at the Coolidge Corner Theatre in Brookline, MA on Monday, November 14, at 7:30 pm. BBQ will be served before the film!

Click here and follow the instructions to download complimentary passes while supplies last. Seating is first-come, first-served and not guaranteed, so be sure to arrive early!

Based on Camille DeAngelis' 2015 novel, the 2022 cannibal drama reunites Suspiria remake director Luca Guadagnino and writer David Kajganich. Taylor Russell and Timothée Chalamet star with Mark Rylance, Michael Stuhlbarg, André Holland, Chloë Sevigny, David Gordon Green, and Jessica Harper.

A story of first love between Maren, a young woman learning how to survive on the margins of society, and Lee, an intense and disenfranchised drifter; a liberating road odyssey of two young people coming into their own, searching for identity and chasing beauty in a perilous world that cannot abide who they are.

‘Bones & All’ premiere-66th BFI London Film Festival-October 8, 2022 ✨✨✨