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Curled up on a couch, Elio lies in his parents ‘ lap. The mor reads a French romance from 16th century. “Is it better to speak or to die?” She quotes knight Amadour, who cannot wrestle to confess to a princess his affection. This feeling of hesitation and exuberance is a sign of young love, and Italian filmmaker Luca Guadagnino catches it in his perfected literary adaptation call me by your name quite wonderfully. Elio is in love. And he decides he has to talk.
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Der17-year-old Italoamerikaner spends summer in a beautiful country villa in norrn Italy with his far (Michael Stuhlbarg), a renowned archaeology professor, and his world-turned mor (Amira Casar), a translator. In her house re is an atmosphere of openness and intellectual curiosity. English, French and Italian are spoken, Montaigne is quoted and discussed about classical art.
It is 1983 and for Elio re is not much to do, except to read books, to laze in sun, to Rumzufummeln, to cycle through Italian Piazze and to transcribe piano pieces. Longing is in humid Mediterranean air and young man is as overripe as peaches that hang in orchard on branches. In or words, Elio is ready to throw himself into arms and loins of someone he desires.
Adonis among mortals
And n Oliver, a charismatic American student, is coming to help his far with his research for six weeks. The intruder, as Elio first calls him disparaging, spits out a nonchalantes “later!”, goes without apology in Elios room, sinks on his bed and sleeps: tall, tanned, enormously handsome, almost a bit pretentious. He is a blond golden boy, who wanders like Adonis among mortals. Yes, he is a god! In sun he shines like antique bronze sculpture that Elio’s far fished from Lake Garda. Elio is irritated, dear, obsessed.
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Despite ir age difference, two are intellectually on a wavelength. One reads Heidegger while or is playing piano. And so y approach each or cautiously, without admitting what is going on. They dance toger, sometimes literally, and film is also a kind of courtship dance, a tormenting, ravishing waltz.
In meantime, both Elio and Oliver have affairs with girls from village. This is where experiments are conducted, and sexuality is as flowing as water flowing down nearby river. When y finally succumb to ir desire, title, “Call Me by thy name”, is spoken quietly in a moment of passion. Oliver wants to be one with Elio. “Elio, Oliver, Oliver, Elio”, y whisper, while two – and also Spectator – lose track of where one begins and or stops. The morning after, your limbs are so tangled that no one could say which ones belong to whom.
