Guadagnino captures the masterful illusion of Elio and Oliver's desire for each other. Who wouldn't fall in love with Chalamet and Hammer's alluring presence and chemistry in front of the camera? The prolonged shots are like memories that you don't want to end. You're seduced by the colours of summer on the gorgeous architectures of Italy while Sufjan Stevens strums his banjo whispering your feelings to your ears.
4.3. Half a star deducted due to being repeatedly kicked off sugar mountain by the gratuitous, dubious grace of Sufjan Stevens' voice (sorry!), and another .2 due to my slight (and shameful) shame at being so ravished by all this overripe, achingly perishable beauty, which constantly threatens to become merely pretty--but never (rarely?) does. "Do you know how happy I am that we slept together?" Total disarmament.
There is literally nothing wrong with this film. It's faultless. Being 17 and in love hurts like hot bees, no matter how much fucking gorgeous Italian countryside you have to hide in. Hammer and Stuhlbarg are perfect, but Chalamet gives what is easily the best performance I've seen all year.
Its pretty easy to imagine James Ivory's script being turned into a schmaltzy watered-down cocktail, so we should be all the more emphatic in applauding the extraordinary ensemble effort (technicians included) that makes CALL ME BY YOUR NAME so remarkable. I had heard that Michael Stuhlbarg was supposed to have a rousing speech. I am prepared to by cynical about such things. Surprise. It blew my goddamn brains out.
An ode to pedantry set in an idealized nearly-isolated Italy with impossibly encouraging entourage. Absolutely no conflict but the tragically beautiful loss of a summer fling from an adolescent's perspective. Yes to all, but this is no 'Blue is the warmest color' nor 'Carol' but a biased elitist jerk-off with splendid music and a leading actor that excessively reminds us of Xavier Dolan.
The most moving moment of the film was Michael Stuhlbarg's monologue... so I think the relationship between Elio and Oliver needed a little more warmth. Guadagnino's aestheticization of love gave us a ravishing film, a visual marvel... but one love story that for most of its duration could have benefitted from more emotional gravitas. For me it only struck home in the moments when Sufjan Stevens' songs were playing.
The start of this love is quite rushed, but I think thats the way it should be, like the feelings of the two lovers. The erotic and sexual innuendo in this is not free or just because, it's sublime and passionate and that's the reason I enjoyed this. Cinematography and soundtrack is on point, and all the cast is quite good. Really good one!
Digital. The best news here is that Guadagnino let himself be conquered by James Ivory's script and followed the placid "British quality" style of this, having made a film almost without any demonstration of his usual modern-smart style. But as with Ivory, this "quality" does not allow for large flights, and the film boil down to an accumulation of orthodox beauty, of which natural environments are the best example.