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CALL ME BY YOUR NAME

Luca Guadagnino Italy, 2017
Its strength is that it really does seem like the character played by Timothée Chalamet made the film himself. Who else but an actual actor-director would end his film by staring tearfully into a fireplace in winter because he’s realized he will always be separate from other human beings, even though he spent last summer having sex in Lombardy with two kind and very attractive people (Armie Hammer and Esther Garrel)?
April 19, 2018
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Guadagnino finally reels in his penchant for the immoderately sensational to arrive at the truly sensual.
December 31, 2018
He also charms everyone almost instantly–except for the awkward adolescent Elio, who at first views this swaggering interloper with a mingling of contempt and envy. What unfolds between them is, in Guadagnino's hands, a kind of languorous hypnotism, a meeting of spiritual ardor and tender physicality.
November 30, 2017
In a sense, this is the furthest thing from a "queer movie;" its whole project is to de-queer Elio's mode of being. That's the point of the film's final shot. Yes, he's heartbroken and crying, but there's "beautiful" music, he's literally crouching in front of a fireplace (the hearth!), and behind him his family, while giving him his space, is preparing a sumptuous holiday meal.
November 28, 2017
Guadagnino can't be bothered to imagine (or to urge Ivory to imagine) what they might actually talk about while sitting together alone. Scenes deliver some useful information to push the plot ahead and then cut out just as they get rolling, because Guadagnino displays no interest in the characters, only in the story.
November 28, 2017
This is a highly elegant film in every way, rich in grace notes, and superbly acted. Chalamet crackles with a watchful, sly nerviness, and Hammer carries himself with a radiant, imperious confidence that sometimes softens to show a more humorous gentleness in Oliver . . . The biggest problem for me is the way that the film's aesthetic perfection militates against its emotional charge. The world depicted here is so glossily perfect that this feels like a film less about life than about lifestyle.
November 24, 2017
The New York Times
There are moments when Mr. Guadagnino's visual choices seem unintentionally in competition with the quieter, intricate emotions that his actors put across so movingly. He can be discreet to the point of coyness (bodies sweat but don't necessarily grunt), but it is finally the insistent delicacy and depth of emotion that makes these characters so heart-skippingly tender.
November 22, 2017
Filmed in luminous 35mm, as attentive to the colors and sounds of nature as it is to the beauty of art, architecture, and yes, Armie Hammer, this is the kind of movie you live in as much as watch. Some of its images—Hammer's Oliver dancing with unselfconscious abandon, Chalamet's face in extended close-up in the stunning final shot—stay with you afterward like memories of your own half-remembered romance.
November 21, 2017
However evasive their language, their bodies know exactly how to communicate after this initial admission, including when to pause and when to linger. The seconds that precede a deep kiss between Elio and Oliver rank among the sexiest of screen caesuras, a respite during which a spectator is invited to recall similar scenarios she may have found herself in, even while her attention remains focused on the bodies, the lives, the desires of the two men in front of her.
November 17, 2017
Guadagnino has continued to refine the sensibility evident in his lush dramas I Am Love (2009) and A Bigger Splash (2015), and proved himself to be a master stylist and storyteller. Set in the sun-dappled Lombardian countryside in the mideighties, this portrait of a brief but extraordinary romance between a young man and the graduate student who comes to stay with his family for the summer holiday is a stirring depiction of self-discovery and love's ability to shake the foundations of our lives.
November 6, 2017
It's more invitingly heartfelt and less baroque than the director's previous films, and skillfully captures both the languor of the summer mood, as time stretches into boredom, and the simultaneous feel of time closing in, of the possibility of missed opportunities, hanging like overripe fruit at the end of a branch. (It's one of those movies over which fruit metaphors hang irresistibly.)
November 3, 2017
Guadagnino's setting is in a sense a platonic ideal of the 1980s. How many of us were ever so lithe and gorgeous, so intelligent and self-possessed? How many of us once knew the longing, and how many, really, the having? As Professor Perlman tells his son in an extraordinarily moving scene, a love like Elio and Oliver's is rare indeed, and before we even know it, our best days our behind us. On the strength of this film, let's hope that Guadagnino's are not.
October 26, 2017