“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.
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Esta historia es de la edición May 06, 2024 de The New Yorker.
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