Time Showing Icon Showing On 28, 30, 31 May

Call Me By Your Name

R18+ 2hrs 12mins
drama romance | 2017, USA
Overview

In 1980s Italy, a romance blossoms between a seventeen year-old student and the older man hired as his father's research assistant.

Director
Luca Guadagnino
Original Review
CJ Johnson, ABC Radio (Australia)
Extracted By
Mark Horner
Featuring
Armie Hammer, Timothée Chalamet, Michael Stuhlbarg

Watch The Trailer

Call Me By Your Name | Official Trailer HD (2017)

Storyline (warning: spoilers)

Timothée Chalamet gives a superb, award-deserving performance as a seventeen-year-old “Jewish French Italian American” young man falling in love for the first time in Luca Guadagnino’s sensuous, languid, romantic and well-crafted Call Me By Your Name. Chalamet himself is Jewish/American/French, so his casting here represents a kind of divine providence. He plays Elio, who lives in a gorgeous villa in Lombardia, Italy with his parents and a couple of household staff. Each summer his academic father (Michael Stuhlbarg) hosts a research assistant; this year – 1983 – it is Oliver (Armie Hammer), a brashly confident American scholar. Over the summer, Elio and Oliver fall in love.

This isn’t Brokeback Vineyard. Oliver and Elio are not – at least, on the surface – fumbling, self-hating deniers, and they’re untroubled by any tangible outside dangers, including bigotry. Indeed, they are both cool. Oliver enchants the whole town with his rather astounding physical presence but his cool goes deeper than that; it’s in how he walks, how he wears the subtly brilliant period-specific summer clothing. He’s deeply dorky when he dances ‘80s-style, but that just somehow adds to his cool. Likewise, Chalamet’s Elio starts the film awkwardly but Oliver awakens some inner cool and soon he’s smoking cigarettes as suavely as the older man.

It is incredibly pleasant to spend a couple of hours with characters as unashamedly smart as this. It is rare these days to find English-speaking characters who revel in the pleasures of intellectual discussion, who celebrate each other’s braininess. Languages in this household freely intermingle and people lie down and read to each other; poets and philosophers are quoted and questioned. It feels like a universe away, a better place, and a most wonderful one.

The film feels too long for its story, which, while it may contain multitudes of feeling and intimate detail, is essentially a simple one. But it is charming in spades, and, as captured in Chalamet’s performance, an essential addition to the coming-of-age canon.

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