“Challengers.”
In his shimmering melodrama “I Am Love” (2009), whose beauties range from the churches of Sanremo to the alabaster countenance of Tilda Swinton, the most ravishing image is a plate of prawns, passionately prepared and breathlessly consumed. Food is even more boldly eroticized in “Call Me by Your Name” (2017), which features suggestively oozing egg yolk and a memorably despoiled peach. And what of “Bones and All” (2022), which, being a cannibal romance, brings Guadagnino’s fixations with food and flesh to a gristly point of convergence? Let’s just say it’s his one picture that’s ideally viewed on an empty stomach.
This story is from the May 06, 2024 edition of The New Yorker.
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This story is from the May 06, 2024 edition of The New Yorker.
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