Directed by Luca Guadagnino
Starring – Armie Hammer, Timothee Chalamet, Michael Stuhlbarg
The Plot – A sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman. It’s the summer of 1983 in the north of Italy, and Elio Perlman (Timothée Chalamet), a precocious 17- year-old American-Italian, spends his days in his family’s 17th century villa transcribing and playing classical music, reading, and flirting with his friend Marzia (Esther Garrel). Elio enjoys a close relationship with his father (Michael Stuhlbarg), an eminent professor specializing in Greco-Roman culture, and his mother Annella (Amira Casar), a translator, who favor him with the fruits of high culture in a setting that overflows with natural delights. While Elio’s sophistication and intellectual gifts suggest he is already a fully-fledged adult, there is much that yet remains innocent and unformed about him, particularly about matters of the heart. One day, Oliver (Armie Hammer), a charming American scholar working on his doctorate, arrives as the annual summer intern tasked with helping Elio’s father. Amid the sun-drenched splendor of the setting, Elio and Oliver discover the heady beauty of awakening desire over the course of a summer that will alter their lives forever.
Rated R for sexual content, nudity, and adult language
– Guadagnino’s sensual, yet sexual approach to the coming-of-age genre that transforms Chalamet before our very eyes from start to finish. You get a distinct sense of maturity that developes inside of him that makes him stronger for what he’s faced.
– The gorgeous Italian countryside that is highlighted by cinematographer Sayombhu Mukdeeprom’s glossy scope. This makes the seduction that envelopes our two characters whole feel easier to intepret by the intoxicating visuals of food and scenery that invite you in
– An 80’s setting that actually plays into matters within the plot. Here, it represents the thought process within a sour taste forcing our protagonists to hide away their love from a world not quite mature enough to understand the lack of prejudice within such a concept.
– This soundtrack is electric, radiating enough new age narration in classic ballads like ‘Love My Way’ by The Psychadelic Furs, as well new pieces like ‘Visions of Gideon’ by critically acclaimed composer Sufjan Stevens that moved me to tears.
– The patience in script development that the film takes in slowly unwrapping what we already know is there. So much is psychological about the head games being displayed between Hammer and Chalamet, making their untouchable feats of intelligence for the history of the world they discuss the kind of starting ground for what transpires between them.
– James Ivory’s very nuanced manner of writing that strains dialogue for the better. In many ways, the looks of his characters say much more than words ever could, and I value greatly the decision to instead absorb as much of the atmosphere in the air that he allows us.
– Hammer and Chalamet’s piercing performances deserving of Oscar consideration at the very least. This is much more than a coming out party on screen for Chalamet, it’s also one amongst for him in opening moviegoer’s eyes to a true volcano of emotional resonance that subdues inside of him. Make damn sure you stay until the credits are over, as a long framing of Chalamet’s face tells us everything that he’s feeling at that moment.
– Exceptional editing that bends and even subdues time when the two distance themselves from everyone else. Sometimes the shots go long with our characters long out of focus, giving us the overwhelming feeling of awkwardness that lingers between them. Most edits will remove this lingering effect, but Guadagnino embraces it.
– There’s not enough material here creatively to span two plus hours, and the pacing sometimes grinds to a devastating halt.
– The sex scenes aren’t terribly graphic in their depictions, but it’s the material of the things you don’t see that can be a little too over the top. See the peach scene for further elaboration.
– What’s the deal with the fly symbolism in the film? I must know more