About Your Privacy on this Site
Welcome! To bring you the best content on our sites and applications, Meredith partners with third party advertisers to serve digital ads, including personalized digital ads. Those advertisers use tracking technologies to collect information about your activity on our sites and applications and across the Internet and your other apps and devices.
You always have the choice to experience our sites without personalized advertising based on your web browsing activity by visiting the DAA’s Consumer Choice page, the NAI's website, and/or the EU online choices page, from each of your browsers or devices. To avoid personalized advertising based on your mobile app activity, you can install the DAA’s AppChoices app here. You can find much more information about your privacy choices in our privacy policy. Even if you choose not to have your activity tracked by third parties for advertising services, you will still see non-personalized ads on our sites and applications. By clicking continue below and using our sites or applications, you agree that we and our third party advertisers can:
  • transfer your data to the United States or other countries; and
  • process and share your data so that we and third parties may serve you with personalized ads, subject to your choices as described above and in our privacy policy.
Entertainment Weekly

Movies

Call Me By Your Name is a gorgeous, intoxicating love story: EW review

Posted on

The setting is gorgeously specific — summer, northern Italy, early 1980s — but the agony and ecstasy of young love are universal in Luca Guadagnino’s intoxicating coming-of-age drama. Seventeen-year-old Elio (Timothée Chalamet), the precocious only child of an American professor (Michael Stuhlbarg) and a chic continental mother (Amira Casar), whiles away the endless afternoons as teenagers (or at least soigné European ones) do: playing Bach variations on the piano, reading battered hardbacks by the pool, loitering in the town square or cooling off in the river. So the arrival of grad student Oliver (Armie Hammer) registers as a near-seismic event. A handsome cipher with a face and body uncannily like one of the Roman statues Elio’s father rhapsodizes over in his studies, Oliver proves to be a heedless, half-absent sort of houseguest — “Later” is the signature catchphrase of his many abrupt exits. (And a series of impossibly tiny shorts, in electric shades of mango, petunia, and lime, is apparently the overriding theme of his seasonal wardrobe.) But as Elio and Oliver slowly begin to draw each other out, a tentative friendship forms, and a powerful attraction.

Call Me By Your Name, adapted by Oscar nominee James Ivory from André Aciman’s acclaimed 2007 novel, is in no rush to tell its story. The narrative casts a sort of languorous spell over its two-plus hours, capturing the unhurried sun-drunk rhythm of Elio’s days as his crush evolves from intriguing distraction to full-blown obsession. There are other contenders for his affection, and Oliver’s, too: local girls whose own sidelined desires Guadagnino captures with startling poignancy. The Italian director, best known for stylized sensory feasts like last year’s sleek, brittle A Bigger Splash, is as lavish with his visual gifts as he’s ever been. And he even finds levity in moments like an already internet-famous dance to the Psychedelic Furs’ “Love My Way,” or in the sheer awkwardness of living inside a teenage body. But there’s a new kind of empathy here—one that allows the winsome Chalamet to shine and pulls surprising new depths from Hammer, an actor whose serene symmetry finally cracks open to reveal the remarkably flawed and feeling human being beneath. (Another much-talked-about moment from the movie’s festival run, a monologue by Stuhlbarg, should go down in scene-making — and screen-parenting — history; it also might earn him an Oscar.) The small miracle of the movie isn’t just that it tells a gay love story with such unreserved tenderness, but that it makes the fate of a romance not meant to last feel like much more than exquisitely framed filmmaking. It’s real life, heartbreaking and sublime. A-

Outbrain

Tags