“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.
Esta historia es de la edición May 06, 2024 de The New Yorker.
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Esta historia es de la edición May 06, 2024 de The New Yorker.
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GET IT TOGETHER
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REBELS WITH A CAUSE
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\"Give Me Carmelita Tropicana!,\" at Soho Rep, and \"Gatz,\" at the Public.
METAMORPHOSIS
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THE BIG SPIN
A district attorney's office investigates how its prosecutors picked death-penalty juries.
THIS ELECTION JUST PROVES WHAT I ALREADY BELIEVED
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HOLD YOUR TONGUE
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YULE RULES
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