Call Me by Your Name

Call Me by Your Name ★★★★½

As breezy and light as the summer it’s set in, Call Me by Your Name is as notable for its lack of tragedy as recent queer films are for putting it in the forefront. Mostly eschewing conflicts from self repression (like Moonlight) or repression from society (like Carol), CMbYN just lets it’s romance play out purely and simply and sweeps you along with it. There’s a key scene where after Chalamet’s Elio performs a particularly weird sexual act, Hammer’s Oliver just gently teases him and then gives him a reassuring “it’s OK”. That spirit of assurance and acceptance is what permeates the film, and it’s so enthralling to get more and more lost in their romance as they get lost in each other. (Both performances are excellent by the way, at least one should take home an Oscar.) By the bittersweet but pointedly low key ending, it’s really felt like a journey I’ve taken along with Elio, transporting in the way all best films are.

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