(Vu en DVD) Dans un coin idyllique du nord de l'Italie, la romance gay entre un ado et un jeune chercheur en archéologie. J'ai du mal à comprendre la hype qui a entouré ce film très longuet, dt les dialogues pseudo-intello et tordus cachent difficilemt un scénario à la platitude désarmante. Rajoutez une famille peu crédible, un héros antipathique, une pêche maltraitée et vous obtenez un brokeback mountain du pauvre.
It is so curious to watch Call me By Your Name after Suspiria, cause it reveals of how talented Guadagnino is in diverse genres. And he is also, possessor of an incredible sensibility. The movie depicts a very complicated and turbulent story in the most beautiful way possible. It has the ability to confront a series of taboos about our sexuality in general, regardless of our sexual preference.
It is difficult to imagine such a snobbish film. And I'd be happy if this was its only fault, but no, they had to stick some pseudo heideggerian bullshit in the mouth of Armie Hammer, an actor that I met through this film but wish I never had. What makes this not entirely unwatchable is Timothée Chalamet - one could say he's carrying this movie in his shoulder just like Jesus carried all sins of the world.
I avoided watching Call Me By Your Name for a long while, fearing that Guadagnino's rise might change his filmmaking for the worse. The fantastic elements of dread and imbalance that made 'I am Love' particularly touching were nowhere to be found in CMBYN. Instead there is a picture perfect portrayal of a weak lead character and exaggerated family affairs. Nothing was unexpected resulting in a film too wholesome.
Ever never seen such a film flattered me like this, the spectrum of each fragments reminds me of the old days I've missed. The youth of life has always been the gift that lord given to each one of us. For the lover you precisely met in the summer, then gotta an unimaginable trip, it lasted along the whole summer til the end. "Call me by your name and I will call you by mine" He whispered.
Quite an original narrative to gay romance aided by a naturalist aesthetic. This is transformed into an ontology of a normality, as spontaneous, as socially uncalibrated -over and above the family's and Oliver's academically liberal yet upper middle-class veneer- as unreflective as plantlike nature can be. This blossoming comes across with ingenuity with no risk of idealization of the ability to defy one's habitus.