Ratings 8 / 10; duration 132m; genre Romance; The Perlmans own a villa outside of Moscazzano in Northern Italy, where they spend their summers and Hannukah. They invite a graduate student to spend six weeks with them over the summer to help Professor Perlman with his work. This summer - 1983 - the student in question is an American named Oliver. While there, Oliver largely associates with the Perlmans' seventeen year old son Elio and Elio's friends, the females among the group whose hearts are aflutter by Oliver's preppy good looks. Oliver, in fact, takes up casually with one of them, Chiara. Elio is an intellectual, but has no experience with girls as he is only now experimenting with his initial stage of manhood and masculinity. If not for Oliver, Elio probably would have chosen Chiara himself, and as such takes up with Marzia instead. Despite their social association and sleeping in adjoining rooms in the villa, Elio doesn't much like Oliver in thinking him too cocky and arrogant partly in that brash American sensibility. In turn, Oliver believes Elio is patronizing in his outward dislike of him. These outward behaviors mask the fact that there is a deep attraction between Elio and Oliver based largely on their admiration of the other's intellect. When they eventually admit that attraction late into Oliver's stay, Oliver is more reticent to act on those feelings in not wanting to ruin his own or Elio's life in still being in the closet, while Elio wants to experience all that sex and love are as he is in the flush of first real love. With Oliver and Elio's clandestine relationship, Elio has to figure out what to do about Marzia, he who may be aware or unaware of her own very deep feelings for him in also experiencing that flush of first love. The other question then becomes if Elio will be able to recover as there will definitely be an end at least to this phase of Oliver and Elio's romance when Oliver leaves to go home at the end of the summer; Audience Score 194767 votes; creator André Aciman
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This is a movie that I wish I could live in. And Mr. Guadagnino does a fantastic job at vicariously placing you within the film already through how sensual and real life it feels. That's the most incredible piece of this movie - being able to feel the sun warm the backs of your arms, the sweat developing between your back and the weirdly uncomfortable lawn chair, the smell of an old paperback lying open on the arm, and the sweet nectar of an apricot squirting into and out of your mouth. It's an environment that feels almost palpable, and rarely do settings feel this much as if they are a character. And the organic nature happens to carry through in the camerawork, oftentimes being voyeuristic as you peer into these lives, and the character interactions and decisions. People feel real, although the dialogue may lack a little bit, and really, the impeccable acting by Timothée Chalamet and Armie Hammer and the rest of the cast more than outweigh that gripe. And the use of symbolism throughout this film felt wholly unique (at least to me - I haven't seen some used in this way ever.
The aesthetic qualities of this movie are no doubt astounding and are what truly make this film special, but there were a few pieces to the story that held it back from being something that I completely loved. Probably most notably the fact that the story is a little generic. It won't really spoil the story, but you can already picture how the film will run if I say that it's a gay/lesbian film. Doubt, clandestine" sexual meetings, spilling the beans, I mean it's all here. Beach Rats was another film from 2017 I saw and I loved how it took a refreshing take to a somewhat monotonous genre. Every sort of experience with coming out and becoming who you want to be is different, so I can't help but question why so many films end up having the same framework as Blue is the Warmest Color. Secondly, I felt the transition from the first half to the second was a little jarring and out of left field. They had hints at something bubbling, and maybe some were too subtle for me to catch, and I knew it was coming eventually, but it really took me by surprise because I wasn't expecting it at the time it came. And my last gripe is with the father's monologue at the end where he's telling Chalamet's character about acceptance and whatnot, but my oh my, it honestly would have felt more natural if the father broke the fourth wall and just started talking directly to the audience. It became waaaay too obvious very quickly that the message was meant for everyone in the audience to hear, not just his character. Disguising this better or thinking of a better way to implement the ideas, because they weren't necessarily things I disagreed with, could have given this film a very uplifting ending. So while the structure of this film is not perfect, I think it almost makes up for it enough in the environment department to make this a film I completely love. Regardless, it is still one of the best movies of the year.
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