A Bigger Splash (2015)
Directed by Luca Guadagnino
An American couple, Paul and Marianne, spend their vacation in Italy and experience trouble when Marianne invites a former lover and his teenage daughter to visit, which leads to jealousy and dangerous sexual scenarios.
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What critics compared A Bigger Splash to
Adapted from Camille DeAngelis’s 2015 novel by Guadagnino’s frequent collaborator David Kajganich (he also penned A Bigger Splash and Suspiria ), Bones and All mirrors the callow volatility of its protagonist.
And just as in the director’s best-known works – A Bigger Splash, Call Me By Your Name, his gonzo remake of Suspiria – themes are in constant service of style.
Whether loosely rethinking Jacques Deray’s film La Piscine (1969) into A Bigger Splash (2015), translating an André Aciman book into the 2015 film Call Me By Your Name, or remaking Dario Argento in 2017 with a superior version of Suspiria, it’s Guadagnino’s attention to character, theme, and atmosphere that elevates his take on established stories.
The three, along with 2015’s A Bigger Splash , also share a common theme: they’re all about people traveling to a new place, an unknown, which is exactly where Guadagnino wants to take us in his movies.
No, “Bones and All,” the latest from director Luca Guadagnino (“Suspiria,” “A Bigger Splash”) is not for the meek, squeamish or recently well fed, as its subject matter are the folk known as “eaters,” aka cannibals, and it is, at times, quite gory.
One could say the same for Luca Guadagnino’s cannibal love story Bones and All , adapted from Camille DeAngelis’ 2015 novel by David Kajganich (the director’s screenwriter on A Bigger Splash (review) and Suspiria ) in a much richer and darker version than the YA constraints of the original text.
Putting a buffer between local pundits’ vocally negative Venice film fest reactions and its U.S. release, Fox Searchlight plans to keep this sly erotic thriller under wraps until May 13, 2016, though it will be hard to top the $5 million Stateside splash Guadagnino made with his previous pic, “I Am Love.”
“A Bigger Splash,” a remake of “La Piscine (The Pool),” a 1969 French film starring Alain Delon, is directed with a tantalizing sexual tension by Luca Guadagnino , who also gave Swinton the sexually charged star vehicle “I Am Love.”
And Luca Guadagnino’s sly, funny follow-up to I Am Love suddenly feels like the greatest party you have ever been invited to.
Above all, fans of Guadagnino’s previous work, “I Am Love” (2009), in which Swinton played an aristocrat who had an affair with a chef, will find much to savor here.
Directed by the Italian filmmaker Luca Guadagnino, who inverted Swinton's screen persona around with 2009's I Am Love, A Bigger Splash has a rich, ripe dynamic that unfolds with a steadily inexorable momentum.
The same year she starred in that film, the actress played one of the leads in Italian director Luca Guadagnino's first film since 2009's I Am Love.
Directed by Italian dream weaver Luca Guadagnino (I Am Love, A Bigger Splash), the film is a swirling wonder, a film about coming of age, about the secrets of youth, the magic of summer, the beauty of Italy.
The new feature film from I Am Love and A Bigger Splash filmmaker Luca Guadagnino chronicles a summer romance that blossoms between a young boy and a visitor in northern Italy, and by the film’s end it solidifies its place as one of the queer cinema greats alongside Carol, Brokeback Mountain, and Moonlight.
In someone else’s hands, the exchange might have become pretentious, ridiculous or melodramatic and lachrymose, but Guadagnino, most famous for the far splashier features I Am Love and A Bigger Splash, finds exactly the right tone for the material, which is understated and filled with paternal affection.
I’m talking about Call Me By Your Name (Grade: A-), the latest from I Am Love and A Bigger Splash director Luca Guadagnino.
Lustrously shot by Sayombhu Mukdeeprom, the sun-bathed days and idyllic nights of the region are picturesque, drowning every frame of the film in the kind of decadence that’s characterized Guadagnino’s prior work (I Am Love, A Bigger Splash), but with a strength of purpose that he’s never fully achieved to this point.
And so it was excellent meteorological counterprogramming that the festival chose one of its coldest, snowiest days so far to unveil Luca Guadagnino’s intoxicatingly al fresco new movie, “Call Me by Your Name.” Adapted from André Aciman’s novel about a teenager’s summer of love in the 1980s, the film has all the wild beauty and simmering erotic languor we’ve come to expect from the director of “I Am Love” and “A Bigger Splash,” both of which followed characters looking for love in all the wrong (but fabulously beautiful and luxurious) places.
Guadagnino, shifting gears radically after his languid sun-dappled films “Call Me By Your Name” and “A Bigger Splash,” is after a darker tone here, a vibe of menace and impenetrable mystery.
Susie may be the least experienced student at the all-female academy, but she makes a quick impression on the famous Madame Blanc (Tilda Swinton, channeling Marina Abramovic’s obsidian intensity to almost the same extent as her performance in “A Bigger Splash” channeled David Bowie’s alien mystique).
Guadagnino reteams here with his screenwriter on A Bigger Splash, David Kajganich, who mined this vein far more effectively in the terrific debut season of AMC's horror anthology series, The Terror.
Luca Guadagnino, the Italian auteur behind the Desire Trilogy, I Am Love , A Bigger Splash , and Call Me by Your Name ; has delivered the most audacious film of the year.
But the most effective apart of Luca Guadagnino’s (Call Me By Your Name, A Bigger Splash) remake/tribute to Dario Argento’s horror classic is how it makes you feel — repulsed, tantalised, curious, uncomfortable and, above all, so bloody tense.
But it is expanded to cumbersome lengths by director Luca Guadagnino and his writing partner David Kajganich (collaborators on the rock 'n roll love tragedy "A Bigger Splash").
From the beginning, there is an arch tone that hints that this might be Guadagnino back in A Bigger Splash mode or bridging his horror impulses with a timely social thriller…
Hated A Bigger Splash…
2015’s “A Bigger Splash” and others on the Lido.
Although probably best known for the melancholy arthouse romances I Am Love and Call Me By Your Name, Guadagnino has occasionally dabbled in genre fare, whether it be A Bigger Splash, Suspiria or Bones And All.
Guadagnino (A Bigger Splash, Call Me by Your Name) is a sensualist, whose films ache with longing.
However, in a way, Challengers almost feels like a throwback to Guadagnino’s pre-Call Me by Your Name work, with films like I Am Love and A Bigger Splash, which wholly relied on the dynamics between its characters, their romantic entanglements within, and the internal machinations of these characters.
When Ralph Fiennes’s platinum-plated record producer vamps impulsively to the Rolling Stones in 2015’s A Bigger Splash, it’s a display that feels equally true to the character’s boozy exhibitionism and the director’s narcissistic sense of showmanship; they’re both vibrating on the same ecstatic frequency, in search of emotional rescue.
Guadagnino, an Italian-born filmmaker, is known for his emotionally complex melodramas and rich stories with a touch of flair and heightened realism with the likes of Bones and All, Call Me By Your Name, Suspiria (2018), A Bigger Splash, I Am Love, and others.
Guadagnino is a modern master of desire, be it cruel and petty, or desperate and hungry, in A Bigger Splash, Call Me by Your Name, or Bones and All. His work feels like a provocation, not in the sense that he’s out to disturb some perceived establishment, but in the way his films climb into their audience’s hearts and prod at the unseen parts.
There’s heat and confrontation and a big dollop of melodrama in “A Bigger Splash,” a film whose location and situation dredge up memories of ’60s Euro-thrillers (“Knife in Water”) and Italian sexual melodramas (“Swept Away”).
Next she stole the show from Tilda Swinton and Ralph Fiennes as a teen femme fatale in Luca Guadagnino’s A Bigger Splash, her character employing scandalously plunging neck-lines to yield eye-watering sartorial results.