.RealChalamet stars as cannibal drifter Lee in Luca Guadagnino’s BonesAndAll. It's a performance so pristinely heartbreaking, so tenderly horrific, so violent and vulnerable, it feels – as his work so often does – like he’s carved out a new genre of man.
And wow do they want him. “I…” he says, laughing, unsure what to do with that information. It should be noted that Chalamet’s default setting is uncertainty. Thoughtful, courteous, smart? Absolutely. Able to articulate a definite opinion about anything? Absolutely not. Never mind. The charm is very real: “We met before,” he says, recalling some 3am dance floor-adjacent small talk we had a few years ago.
Call it the Timothée effect. It’s everywhere, bewitching fans, directors, fellow actors, fashion houses and now British, for whom the half-French, half-American, fourth-generation New Yorker becomes the first man to appear solo on the print cover. We meet again the following day in SoHo.
Eyes bug a lot with Timmy. In return, you occasionally spot a flash of kindly exhaustion in his. His manners are almost comically superb and an antenna attuned to the energy of absolutely everyone around him at all times is a terrific resource for an actor – enervating for a human, though. “I hate talking about this kind of stuff, but like the pressure of, you know, being in the public eye, whatever the f**k that means,” he says, annoyed by the concept even.
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