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Call Me by Your Name (film)

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This article is about the film. For the novel upon which it is based, see Call Me by Your Name (novel).
Call Me by Your Name
Theatrical release poster
Directed byLuca Guadagnino
Screenplay byJames Ivory
Produced by
Starring
CinematographySayombhu Mukdeeprom
Edited byWalter Fasano
Music bySufjan Stevens
Production
companies
  • Frensy Film Company
  • La Cinéfacture
  • RT Features
  • Water's End Productions
Distributed bySony Pictures Classics
Release dates
  • January 22, 2017 (2017-01-22) (Sundance)
  • November 24, 2017 (2017-11-24) (United States)
Running time
132 minutes[1]
Countries
  • United States
  • Italy
  • Brazil
  • France
Languages
  • English
  • French
  • Italian[2]
Budget$3.5 million[3]
Box office$2.3 million[4]

Call Me by Your Name is a 2017 romantic coming-of-age drama film directed by Luca Guadagnino and written by James Ivory, based on the 2007 novel of the same name by André Aciman. It is the third and final installment in Guadagnino's Desire trilogy, following I Am Love (2009) and A Bigger Splash (2015). Set in Italy in 1983, Call Me by Your Name chronicles the romantic relationship between Elio Perlman (Timothée Chalamet), a 17-year-old living in Italy, and his father's American assistant, Oliver (Armie Hammer). The film also stars Michael Stuhlbarg, Amira Casar, Esther Garrel, and Victoire Du Bois.

Call Me by Your Name had been in development since 2007, when producers Peter Spears and Howard Rosenman optioned the screen rights to Aciman's novel. Ivory had been set to co-direct the film but ended up writing the script and co-producing. Guadagnino, who came on board as a location consultant, became the sole director in 2016. The film was financed through a variety of international sources. Principal photography took place in Crema, Italy in May and June of 2016. Cinematographer Sayombhu Mukdeeprom shot Call Me by Your Name on 35-mm film.

Before its world premiere at the Sundance Film Festival on January 22, 2017, Call Me by Your Name was picked up for distribution by Sony Pictures Classics. It was released in the United Kingdom on October 27, 2017, and in the United States on November 24, 2017. The film received unanimous acclaim, with particular praise given to its direction, screenplay, musical score, and performances, and was chosen by both the National Board of Review and American Film Institute as one of the top 10 films of the year.

Plot

Elio (Timothée Chalamet), a seventeen-year-old boy, lives in the Italian countryside with his parents (Michael Stuhlbarg and Amira Casar). His father, a professor of archaeology, invites an American student, Oliver (Armie Hammer), to live with his family over the summer of 1983 and help him with his academic paperwork. Elio, an introspective bibliophile, finds little in common with Oliver's carefree and exuberant personality. Elio also resents vacating his bedroom for the duration of Oliver's stay. Elio spends much of the summer reading books and spending time with his girlfriend, Marzia (Esther Garrel), while Oliver is attracted to one of the local girls, much to Elio's chagrin.

Soon, Elio and Oliver begin to spend time with each other as a seductive courtship begins between the two—they swim together, go for long walks in the town, and accompany Elio's father on trips to archaeological sites. Although Elio begins a sexual relationship with Marzia and brags about it in front of Oliver to see his reaction, he increasingly finds himself attracted to Oliver. He sneaks into Oliver's room to smell his underwear and masturbates while thinking about him. During a trip to the post office, Elio somewhat confesses about his feelings to Oliver, who gently tells him that he should not act on those feelings. When they go swimming one day, Elio kisses Oliver on the lips, who kisses him back, but is reluctant to go further, despite Elio's insistence. They subsequently grow distant over the next few days, sharing an occasional touch or glance, that makes Elio long for him even more.

One morning, Elio finds a note from Oliver asking him to come to Oliver's bedroom at midnight. Elio spends the day with Marzia but secretly longs to see Oliver. Finally, at midnight, he enters Oliver's bedroom and the couple make love for the first time. Over the next few days, they grow closer, frequently having sex while keeping their relationship a secret. In bed, Oliver tells Elio, "Call me by your name and I will call you by mine". They refer to each other by their own names while becoming more and more intimate both physically and emotionally. Another time, Elio masturbates into a peach that he has split open, and after Oliver performs oral sex on him, he takes a bite of the peach in front of an embarrassed Elio. Completely smitten with Oliver by that point, he begins to avoid Marzia.

With Oliver's trip coming to an end, the couple find themselves overcome with grief and longing. Elio's parents, conscious of the bond between the two, recommend they take a trip to Rome together before Oliver goes back to America. Elio and Oliver spend three romantic days in Rome, after which Oliver leaves and a heartbroken Elio returns home. He encounters a sympathetic Marzia, who still wants to be his friend, and his father, seeing how his son is, tells him that both he and his wife were aware of Elio's affair with Oliver. He confesses to having had his own love affair with a friend in his youth and urges Elio to find pleasure in the grief, since true love such as Elio and Oliver felt, is rare.

Several months later, at Christmastime, Elio receives a phone call from Oliver. Oliver tells Elio that he is engaged to be married, after which they call each other by their own names and say how much they miss one another. Heartbroken anew, Elio sits by the fire, eyes welling up with tears as his parents and the staff prepare a holiday dinner.

Cast

Production

Development

Ivory in September 1991
Ivory, who took nine months to write the script, was once set to co-direct the film.

After seeing an early galley of André Aciman's debut novel Call Me by Your Name in 2007, American producers Peter Spears and Howard Rosenman bought the screen rights to it before it was published.[5] Before developing it into a film, the two invited their friend James Ivory to be an executive producer on the adaptation, which he accepted.[6] However, Spears and Rosenman soon found themselves in "development hell":[7] they met with three different set of directors and writers[5] but could not find anyone who would commit to the project, as several candidates were dropped out to take a bigger-paying job.[8] Scheduling around the need to shoot in Italy during the summer also proved difficult.[5][8]

A native of northern Italy, Luca Guadagnino was first hired as a location consultant,[9][10] to help "put the movie together from the Italian side."[11] In 2008, the producers lined him up as their first choice to direct, but he declined.[12] Guadagnino became a producer himself, before he suggested that he co-direct the film with Ivory—without any contractual agreement yet in place.[11][7] Ivory accepted the offer, and spent about nine months in 2014 working on the screenplay.[12][6][7] Guadagnino, who has described the novel as "a Proustian book about remembering the past and indulging in the melancholy of lost things,"[13] wrote the adaptation with Ivory, while also collaborating with Walter Fasano to "really fine-tune it".[14][11] "We started making the script at [Ivory's] house in the countryside," Guadagnino said, "not as a job, but for the pleasure of being together in Crema at my kitchen table, and sometimes in New York."[15]

The screenplay was approved by Aciman, who commended the adaptation as "direct, […] real and persuasive." He added, "as the writer I found myself saying, 'Wow, they've done better than the book'".[5] The completed screenplay was vital in securing funding for the film's production.[6][7] Among the financiers were the production companies La Cinéfacture (France); Frensy Film Company (Italy, owned by Guadagnino); RT Features (Brazil), and Water’s End Productions (United States)—along with the support of the Italian Ministry of Cultural Heritage and Activities and Tourism.[16][14][17][8]

In revising Ivory's draft of the script, Guadagnino removed a considerable amount of nudity.[9] He has said that Ivory's version would have likely been "a much more costly [and] different film"—one which, in fact, could not have been made, because of "market realities".[9][10] In 2016, Ivory stepped down from directing to avoid conflicts, leaving Guadagnino to direct the film alone.[11][12] "It would be awkward," Ivory said, "to have two directors working together. It might take longer, it would look terrible if we got in fights on the set, and so on."[6] Ivory subsequently sold the rights in the screenplay to Guadagnino's company.[6]

Adaptation

Call Me by Your Name is the final installment in Guadagnino's Desire trilogy, following I Am Love (2009) and A Bigger Splash (2015).[18][12] The film represents a departure from his previous work, as on it he took a "non-aggressive" and simple approach; he has said this is "the most calm" movie he has made.[11][19] Despite being a literary adaptation, many scenes in the film play out wordlessly. "Words are part of what's going on, but it's not necessarily what's going on underneath. I think this film celebrates the underneath," he said.[20] Guadagnino considers the film an "homage to fathers," referring both to his own father and to four filmmakers who have inspired him—Jean Renoir, Jacques Rivette, Éric Rohmer, and Bernardo Bertolucci.[21]

Guadagnino has described Call Me By Your Name as a family-oriented film for the purpose of "transmission of knowledge and hope that people of different generations come to see the film together."[14] He never saw it as a "gay" movie, but rather calls it a film about the "beauty of the newborn idea of desire, unbiased and uncynical," and reflects his motto of living "with a sense of joie de vivre."[19][11] "If this movie has one lesson", Guadagnino said, "it's that actually, we should always be very earnest with one's feelings, instead of hiding them or shielding ourselves".[18] The director attempted to avoid the flaws he had seen in most coming-of-age films, in which growth is often portrayed as a result of resolving certain preconceived dilemmas—such as having to choose between two lovers.[10] He also wanted the story to follow two people in the moment, rather than focus on an antagonist or a tragedy,[19] a specific approach inspired by À Nos Amours (1983), directed by Maurice Pialat.[10][13] As someone who considers sex in film a representation of the characters' behavior and identity,[22] Guadagnino wasn't interested in including explicit sex scenes in the film, in order to keep the tone as planned, saying, "I wanted the audience to completely rely on the emotional travel of these people and feel first love […] It was important to me to create this powerful universality, because the whole idea of the movie is that the other person makes you beautiful—enlightens you, elevates you."[23]

The film differs from its source material in a number of ways. While the novel serves as a memory-piece from Elio's perspective, the filmmakers behind Call Me by Your Name chose to set the movie entirely in the present time, a "much more efficient" solution to help the audience understand the characters and "reflect the essence of the book."[20][13] Guadagnino decided to push back the original setting from 1987 to 1983—which he explained was a year, "in Italy at least, when everything that was great about the '70s is definitely shut down", and one in which the characters "are in a way untouched by the corruption of the '80s—in the U.S., Reagan, and in the UK, Thatcher".[24][15] Mr. Perlman's profession was refined by Ivory from a classics scholar to "an art historian/archeologist type."[20][25] Apart from the removal of nudity, Guadagnino also discarded much of the voice-over narration from Ivory's original script. The director did not like the idea of having the main character tell the story retrospectively, stating that "it kills the surprise".[13]

Guadagnino was tempted to remove a scene from the novel in which Elio masturbates into a pitted peach, as he thought it was a metaphor for "sexual impulses and energy", and thought it too explicit.[5][26] Timothée Chalamet was also nervous about the scene,[27] describing it as the key to illuminating the character's "overabundant sexual energy".[20] Despite their reservations, Guadagnino and Chalamet both tested the method by themselves, and eventually included the scene in the film.[28] A scene featuring Elio and Oliver's "enthusiastic" dancing to The Psychedelic Furs' "Love My Way" in a small bar[29] is not drawn from the book, but inspired by the time Guadagnino danced by himself in a bedroom when he was young.[5] Ivory described the scene where two protagonists bike into town and Elio confronts his feelings for Oliver as the key in capturing the "euphoric passion and nervousness" of their first love. "I thought that was very well written and a very good scene with a lot of power," Ivory said, "And I wanted to make sure that was there in the film."[30]

Casting

In 2015, Shia LaBeouf and Greta Scacchi were reportedly set to be cast in the film.[31] In September 2016, Ivory confirmed that LaBeouf and Scacchi were no longer involved in the project. According to Ivory, LaBeouf had gone to New York City to do a reading for the film, but the production company later felt he was unsuitable due to his "various troubles"; although Ivory thought the two "had good scenes together" and could have made it into the film, the company disagreed.[32]

Hammer and Chalamet during the press conference in 2017
Hammer and Chalamet during the press conference of Call Me by Your Name at the 2017 Berlin International Film Festival.

After seeing Armie Hammer's performance in The Social Network (2010), Guadagnino "fell in love" with him and cultivated his passion for Hammer and the movies he made afterwards.[11][28] The director found him to be a "sophisticated actor, with a great range" and had him in mind for the role of Oliver.[11] Hammer, who had expressed interest in Guadagnino's A Bigger Splash, met with the director years before the film went into production.[33][22] When the actor got the script, he almost turned down the role because of the nudity that had been in that draft. "I did want to pass; it scared me," he said. "There’s a lot of stuff here that I’ve never done on film before. But there’s no way I can’t do this [film], mostly because it scares me so much."[33][34] According to Guadagnino, Hammer was going to pass on the role through his agent, but then changed his mind at the end of their conversation.[11][3] This is the third film in which Hammer had played a gay character, following J. Edgar (2011) and Final Portrait (2017).[35][26]

Chalamet has acted since he was a child and made an appearance in Showtime's Homeland in 2012.[33] The following year, Spears' husband and agent, Brian Swardstrom, introduced the then 17-year-old Chalamet to Guadagnino,[11][22] who immediately felt the actor had "the ambition, the intelligence, the sensitivity, the naivety, and the artistry" for the role of Elio.[13] Chalamet read Aciman's novel by the time he was 17, and described it as "a window into a young person".[27] Chalamet, who can speak fluent French and had played piano for years, arrived in Italy five weeks early to learn Italian, piano, and guitar.[20][36]

Michael Stuhlbarg plays Mr. Perlman, Elio's father.[33][37] The actor didn't start reading the book until he had already joined the production.[38] He was moved by the "many beautiful sentiments expressed" in the script when he first read it, including Mr. Perlman's "sense of generosity and love and understanding".[39] Amira Casar, Esther Garrel, and Victoire Du Bois feature in supporting roles as Annella, Marzia, and Chiara, respectively.[37] Aciman and Spears themselves also appear briefly in the roles of Mounir and Isaac, a gay couple who attend a dinner party.[20][25] Aciman was asked to be in the movie after actors were ultimately unavailable. "It was a last-minute decision," Spears recalled, "Andrė turns out to be a phenomenal actor! So comfortable, not nervous at all. His wife was sitting there and said, 'I had no idea!'"[40]

Hammer and Chalamet both signed contracts that prohibited full-frontal nudity. Ivory, whose original screenplay had contained "all sorts of nudity," was dismayed by the decision, criticizing what he saw as an "American" attitude. "Nobody seems to care that much or be shocked about a totally naked woman. It’s the men," he said.[7][9] Guadagnino, who remained involved in the casting,[33] chose actors based on their performances and chemistry, rather than choosing to "investigate or label" their sexuality.[23] He said, "The idea that you have to cast only someone who has a certain set of skills, and worse, a certain gender identity in any role: that’s oppressive to me".[12]

Filming and post-production

Filming at the Crema Cathedral was postponed due to bad weather.

Principal photography on Call Me by Your Name lasted 34 days[41]—began on May 9, 2016, shortly after A Bigger Splash was released in the United States,[42] and completed in June 2016.[43][32] The process occurred quietly,[44] with reports only appearing after filming had been underway for two weeks.[45][46] The director's first cut of the film was four hours long.[47] Post-production took only a month—between June and July,[11] the fastest Guadagnino had edited.[43]

While the novel is set in Bordighera,[25] the film was shot primarily in Crema, Lombardy—where Guadagnino lives in Italy[11][21]—and in the nearby villages of Pandino and Moscazzano. The pre-production in Crema was fast,[8] with a search for extras began in the city in March and April.[48][49] Scenes from Pandino and Moscazzano were filmed from May 17,[50][51] before moving to Crema in June 1.[52] Additional outdoor scenes were shot at the Palazzo Albergoni in December 4, 2016.[53][54] Several historical locations in the surrounding streets in Crema and Pandino were chosen during production, including the Crema Cathedral.[50][55] Businesses received compensation for financial losses caused by the closure, scheduled during May 30 and 31.[56] Two days' filming at the cathedral were postponed due to the weather.[55] Production in Crema cost €18,000,[57] with a promotion campaign that cost €7,500.[58] Filming also took place by Lake Garda and in Bergamo, as well as in two small towns in the immediate vicinity of Crema, Montodine and Ripalta.[20][53]

The actors lived in Crema and were able to absorb the rhythm of small-town life.[20] Guadagnino engaged deeply with the cast and filmmakers, often cooked and showed films for them in his house.[5] Hammer and Chalamet, who did not have to do a screen test together,[13] met for the first time during the production in Crema.[43][20] They spent a month together before filming began, watched Mike Tyson documentaries and went to the local restaurants,[18][3] to build character development.[43] "We’d hang out with each other all the time, because we were pretty much the only Americans there, and we were able to defend one another and really get to know one another," Chalamet recalled.[36] In the first two days of production, Guadagnino sat down with the cast to read through the script.[15] The actors rehearsed their scenes every night before shooting, and spent several days shooting completely nude.[59] "I’ve never been so intimately involved with a director before. Luca was able to look at me and completely undress me," Hammer said.[28]

Guadagnino shot the film in chronological order.[15] The scene where Mr. Perlman delivered an educational speech to Elio was filmed the day before shooting wrapped.[18][15] Stuhlbarg had prepared for the scene for months,[18] "I was a little on eggshells because I'd been waiting so long to do it," he said.[39] According to Fasano, the scene took three takes, where Stuhlbarg was "on three different levels of getting emotional."[60] During the dancing sequence, Hammer had to perform in front of "50 extras off camera," with the music being turned down to record the dialogue. "That was not fun, I don't really enjoy dancing," Hammer said, "Here I am, dancing to this quiet music [...] I very quickly become the 6-foot-5 gangly guy that's very easy to spot from across the room."[3]

Sayombhu Mukdeeprom, who had previously collaborated with Guadagnino in Ferdinando Cito Filomarino's Antonia (2015), served as the director of photography.[22][46] Guadagnino and Filomarino developed an "exquisite and extraordinary" relationship with Mukdeeprom during the production of Antonia, the cinematographer's first non-Thai film.[22] Lighting is an important factor in Mukdeeprom's work, as he needs the light to be engaged with the characters.[22] In order to capture the Northern Italian summer atmosphere for Call Me by Your Name,[11] he had to create completely artificial light, due to the heavy rains that lasted the entirety of the shoot.[22][41] He also connected to the actors during the scene; when they finished shooting the first take of the confrontation between Oliver and Elio, he was crying in a corner of the room.[11] The film was shot using a 35 mm lens, a decision influenced by the work of David Cronenberg in order to "solidif[y] the point of view."[10]

Production design and costume

The main location for the Perlmans' residence was an uninhabited 17th-century mansion in Moscazzano.[20] The director initially wanted to buy the house but couldn’t afford it, so he made a film at the place instead.[61] Six weeks before production, the crew—including production designer Samuel Dehors and first-time set decorator Violante Visconti di Modrone—gradually decorated the house with furniture, objects, and decoration inspired by the characters.[61][20] Much of the furniture, including the dishes and glassware from the '50s, belonged to Guadagnino and Visconti's parents. "That made it cozy and personal," Visconti said, "I wanted to give it the sense of time passing by."[62] The Asian-inspired paintings, maps, and mirrors mostly came from an antiques store in Milan.[62] The swimming pool used in the film was recreated from a watering trough common in the area.[20][62] Guadagnino didn't want the film to "look like a reflection on the 80s, [...] when it becomes period."[10] His team did extensive research, with an assist from the residents of Crema, by entering people's houses and collecting their pictures of the '80s.[10]

Costume designer Giulia Piersanti avoided using period costumes, and wanted to provide "a sense of insouciant adolescent sensuality, summer heat and sexual awakening" to the characters.[62] The costumes were influenced by the work in French films Pauline at the Beach (1983), A Tale of Springtime (1990), and A Summer's Tale (1996).[62] She took inspiration from her parents' photo albums for the Perlmans' wardrobe. For Oliver’s "sexy, healthy American" image, Piersanti referred to "some of Bruce Weber’s earliest photographs."[62] Aiming to emphasize Elio's confident style, she chose several Lacoste costumes, and a distinctive New Romantic-looking shirt in the final scene.[10][62] Elio’s polo shirt and Fido Dido T-shirt came from her husband's closet, "I love that they will stay forever on film", she said.[62]

Soundtrack

Untitled
Label

Guadagnino normally selects the music for his films himself.[20] The director wanted to find a "emotional narrator to the film" through music, inspired by the work in Barry Lyndon (1975), The Magnificent Ambersons (1942), and The Age of Innocence (1993). "It is less heavy, less present, and more enveloping than a voice and text," said Guadagnino.[15] He found that the lyricism of Sufjan Stevens' work resonated with him, and initially asked Stevens to record an original song for Call Me by Your Name.[22] Stevens would eventually contribute three songs to the soundtrack: "Mystery of Love", "Visions of Gideon", and a new rendition of "Futile Devices" with piano.[13] Stevens took inspiration from the script, the book, and conversations with the director about the characters.[22] He submitted the songs a few days before shooting began. Surprised by the result, the director listened to them with the actors and Fasano on-set.[20][43] Call Me By Your Name marks Stevens' first contributions to a feature-film soundtrack.[63]

The soundtrack also features songs by The Psychedelic Furs, Loredana Berté, Bandolero, Giorgio Moroder, Joe Esposito, and F. R. David, with compositions by John Adams, Frank Glazer, Ryuichi Sakamoto, Johann Sebastian Bach, and Maurice Ravel.[64] Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces in order to get close to Oliver.[13] The music is used to reflect the time, the characters' family, level of education, and "the kind of canon they would be a part of".[13] Guadagnino also researched what was popular on the radio that summer, so as to stay true to the time period.[13]

"Mystery of Love" was featured in the film's first trailer, released on August 1, 2017.[65] The soundtrack had been scheduled for release under Madison Gate Records and Sony Classical on November 17, 2017,[66][67][68] but was released early on November 3.[69][70][71]

Track listing
No.TitleWriter(s)Performer(s)Length
1."Hallelujah Junction – 1st Movement"John AdamsAdams7:09
2."M.A.Y. in the Backyard"Ryuichi SakamotoSakamoto4:25
3."J'adore Venise"Ivano FossatiLoredana Berté4:15
4."Paris latino"
  • Carlos Perez
  • José Perez
Bandolero4:01
5."Sonatine bureaucratique"Erik SatieFrank Glazer3:44
6."Zion hört die Wächter singen (From Cantata Wachet auf, ruft uns die Stimme, BWV 140)"Johann Sebastian BachAlessio Bax5:10
7."Lady Lady Lady"
4:15
8."Une barque sur l'océan (From Miroirs)"Maurice RavelAndré Laplante7:10
9."Futile Devices (Doveman Remix)"Sufjan StevensStevens2:15
10."Germination"SakamotoSakamoto2:09
11."Words"
F. R. David3:27
12."È la vita"
Armani4:11
13."Mystery of Love"StevensStevens4:08
14."Radio Varsavia"
Battiato4:07
15."Love My Way"
The Psychedelic Furs3:33
16."Le Jardin féerique (From Ma mère l'Oye)"Maurice Ravel
3:02
17."Visions of Gideon"StevensStevens4:07
Total length:71:08

Release

From left to right: Armie Hammer, Timothee Chalamet, Vanda Capriolo, Amira Casar, André Aciman, Esther Garrel, Victoire du Bois, and Peter Spears at the screening of Call Me by Your Name at the 2017 Berlin International Film Festival.

Call Me by Your Name had its world premiere at the Sundance Film Festival on January 22, 2017.[72][73] Prior to its premiere, Sony Pictures Classics acquired U.S. distribution rights to the film for $6 million.[74] The deal was negotiated by WME Global and UTA Independent Film Group.[75] International distribution rights were purchased by Memento Films International, a French company which showed the promo reel for the film at the American Film Market in November 2016.[16][76] It was also screened at the Toronto International Film Festival on September 7, 2017,[77][43] the Berlin International Film Festival on February 13, 2017,[11] and the New York Film Festival on October 3, 2017.[78] It was released in limited release in the United Kingdom on October 27, 2017,[21] and in the United States on November 24, 2017.[79]

The first theatrical trailer was released on August 1, 2017.[80][81] On October 11, 2017, Sony Pictures Classics released a teaser titled "Dance Party" to celebrate National Coming Out Day.[82] The 42-second clip, which consists of one continuous shot of Hammer and Chalamet dancing at a bar, became a meme on Twitter.[83][84][29] Reaction to the advertisement on social media was somewhat negative, largely due to Sony Pictures' "misleading" use of a still of Chalamet and Garrel instead of focusing on the protagonist's relationship.[85] Daniel Megarry of Gay Times described it as "an attempt to 'straight-wash' the movie's predominant same-sex romance",[86] while Benjamin Lee of The Guardian called it a "disastrous attempt to push Oscar-buzzed Call Me by Your Name as a straight love story" and said the advert "belies an industry awkwardly denying queerness".[87]

After its screening at the Toronto International Film Festival, the actor James Woods criticized the age disparity between Elio and Oliver on Twitter, saying "As they quietly chip away the last barriers of decency. #NAMBLA", using a hashtag referring to the North American Man/Boy Love Association, a pedophilia advocacy organization.[5][88] Hammer responded by criticizing Woods' relationship with Kristen Bauguess—who started dating Woods in 2013 when she was 20 years old and he was 66 years old—saying, "Didn't you date a 19 year old when you were 60?"[89] In an interview for The Hollywood Reporter, Hammer explained "We weren't trying to make some salacious, predatory movie. The age of consent in Italy is 14. So, to get technical, it's not illegal there […] But this isn't a normal situation: The younger guy goes after the older guy. The dynamic is not older-predator-versus-younger-boy." He further said Woods "had no moral high ground to stand on and was cheapening what we did".[3]

Reception

Box office

In the United States, the film began its limited run on November 24, 2017 at four theaters: The Paris Theater and Union Square Theatre in New York City, and the ArcLight Hollywood and Landmark Theater in Los Angeles.[90] The film made $404,874 in its opening weekend—a per-theater average of $101,219.[91] It was the highest average of 2017, the biggest since that of La La Land the previous December,[92][93] and the best-performing gay romance film since Brokeback Mountain (2005).[94] In its second weekend, the film grossed $281,288,[95][96] with an "excellent" per-screen average of $70,320 and cumulative of $908,175.[97][98]

In the United Kingdom, the film opened on October 27, 2017 and earned £231,995 ($306,000) in its opening weekend from 112 screens,[99] including £4,000 from previews.[100] After ten days, it had made a total of £568,000 ($745,000)[101] before reaching the $1 million mark (£767,000) in its third weekend.[102][103] As of 29 November 2017, the film has grossed $1,269,621 in the UK.[4]

Critical response

Guadagnino in 2017
Guadagnino's direction garnered positive reviews from critics.

After its premiere at the Sundance Film Festival, Call Me by Your Name was met with critical acclaim.[104][77] It received a ten-minute standing ovation at its New York Film Festival screening at the Alice Tully Hall, the longest recorded in the festival's history.[24][105] On review aggregator Rotten Tomatoes, the film has an approval rating of 98% based on 133 reviews, with an average rating of 9.1/10. The site's critical consensus reads, "Call Me by Your Name offers a melancholy, powerfully affecting portrait of first love, empathetically acted by Timothée Chalamet and Armie Hammer."[106] On Metacritic, the film has an average weighted score of 95 out of 100, based on 38 critics, signifying "universal acclaim".[107]

Writing in The Hollywood Reporter, Boyd van Hoeij described Call Me by Your Name as an "extremely sensual [...] intimate and piercingly honest" adaptation of Aciman's novel. He further called Chalamet's performance "the true breakout of the film".[108] Peter Debruge of Variety said the film "advances the canon of gay cinema" by portraying "a story of first love [...] that transcends the same-sex dynamic of its central couple." He compared Guadagnino's "sensual" direction to those of Pedro Almodóvar and François Ozon, while putting the film "on par with the best of their work."[109] David Ehrlich of IndieWire also praised his direction, which helps the film "match[ing] the artistry and empathy" of Carol (2015) and Moonlight (2016).[110] Sam Adams of BBC stating that Stuhlbarg's performance "puts a frame around the movie's painting and opens up avenues we may not have thought to explore" and called it "one of his finest" to date. He extolled the work as one of "many movies that have so successfully appealed to both the intellectual and the erotic since the heydays of Patrice Chéreau and André Téchiné."[111]

Sam C. Mac of Slant gave the film three out of four stars, commended the director's "emphatic visual energy" and writing that the coming-of-age story "is deeply concerned with the salvation found in the meditative power of the arts".[112] David Morgan of CBS praised the cinematography, production design and costume for "making a summer in the 1980s palpably alive again." He also applauded the "remarkably attuned" performances by Hammer and Chalamet, while described Stuhlbarg's character as "the most forward-thinking parent in movie history."[113] Richard Lawson feels that Guadagnino’s adaptation "was made with real love, with good intentions, with a clarity of heart and purposeful, unpretentious intellect" and hailed it as a "modern gay classic" in his Vanity Fair review.[114] Time Out's Joshua Rothkopf called it "a triumphant, heartbreaking tale of coming out," and compared it positively with Brokeback Mountain, Carol and Moonlight.[115] The Economist noted the tension "between pain and pleasure" in the film, and praised Chalamet who "evokes so many shades of humanity, portraying a path of youthful self-discovery that is more raw, unhinged, and ultimately honest than many actors could manage."[116]

Olly Richards of Empire called it the "full-hearted romantic masterpiece". He commended the "elegant and full of small surprises" screenplay penned by Ivory, and also for Chalamet's performance, writing that "In a film in which every performance is terrific, Chalamet makes the rest look like they’re acting. He alone would make the film worth watching, but he’s just one of countless reasons."[117] Donald Clarke of The Irish Times felt that the film benefited from Ivory's "subtle" script and the "exotic urgency" from Guadagino's vision.[118] Kate Taylor of Globe and Mail gave the film two and a half stars, praised the "exquisite" romantic tension and Chalamet's effort to capture "first love and its inevitable heartbreak", but feels that the "multilingual, almost-pre-AIDS idyll does not stretch credulity."[119]

Accolades

Main article: List of accolades received by Call Me by Your Name (film)

Call Me by Your Name was selected by the National Board of Review and American Film Institute as one of the top 10 films of the year.[120][121] It received eight nominations at Critics' Choice Awards, including Best Director, Best Actor, Best Supporting Actor, Best Adapted Screenplay, and Best Cinematography.[122] It led the Independent Spirit Awards with most nomination, garnering six, among them Best Feature, Best Director, Best Male Lead, Best Supporting Male, Best Cinematography, and Best Editing.[123]

Call Me by Your Name won the Grand Prize at the Chéries-Chéris Festival.[124] Lisbon & Estoril Film Festival awarded the film NOS Audience Award,[125] and Chalamet received Best Actor award at New York Film Critics Circle.[126] Gotham Independent Film Awards and Hollywood Film Awards both awarded Chalamet, with their Breakout Actor Awards.[127][128]

Potential sequel

Guadagnino has deliberated over the idea of a sequel since the film's premiere at Sundance, when he realized the characters "could go beyond the boundaries of the film."[26] During the 2017 BFI London Film Festival, he stated that he hoped to make a sequel to the film in 2020, suggesting it might be in the style of Richard Linklater's Before trilogy, whilst telling the story of Oliver and Elio as they aged. "If I paired the age of Elio in the film with the age of Timothée, in three years’ time, Timothée will be 25, as would Elio by the time the second story was set," he said.[129] In the novel, Elio and Oliver reunited 15 years later, when Oliver is married. Guadagnino said that Elio probably wouldn’t be gay in the potential sequel: "I don’t think Elio is necessarily going to become a gay man. He hasn’t found his place yet. I can tell you that I believe that he would start an intense relationship with Marzia again." Guadagnino is also interested in the politics of the 1990s, saying "it would be the beginning of the Berlusconi era in Italy and it would mean dealing with the war of Iraq".[130][131]

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  127. ^ Gettell, Oliver (27 November 2017). "Call Me By Your Name takes top prize at 2017 Gotham Awards". Entertainment Weekly. Retrieved 27 November 2017.
  128. ^ "2017 Honorees". Hollywood Film Awards. Archived from the original on 19 October 2017. Retrieved 19 October 2017. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; 22 October 2017 suggested (help); Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  129. ^ Harris, Hunter (16 October 2017). "Luca Guadagnino Is Planning Call Me by Your Name Sequels, Before Sunrise Style". Vulture. Retrieved 16 October 2017.
  130. ^ Desta, Yohana (16 October 2017). "Call Me By Your Name's Director Would Like to Do a Sequel, Please". Vanity Fair. Retrieved 16 October 2017.
  131. ^ Shraf, Zack (16 October 2017). "Luca Guadagnino Planning 'Call Me By Your Name' Sequel For 2020". IndieWire. Retrieved 16 October 2017.
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