Link: Rollback package for realme 3 Pro.Step 2: Enter recovery mode to roll back: Turn off your phone-->Long press the volume down and power buttons at the same time enter recovery mode-->Choose the language -->Install from storage--> Input your screen locked password-->Find & tap the rollback package to go back to the previous version.1. kzIR. It is not easy to put Call Me by Your Name into words. Luca Guadagnino’s new film, which adapts André Aciman’s 2007 novel about a precocious 17-year-old who falls in lust and love with his father’s 24-year-old graduate student, is remarkable for how it turns literature into pure cinema, all emotion and image and heady sensation. You could call Call Me by Your Name an erotic film, then — and it absolutely, undeniably is. But I mean it in a way that’s broader than our modern narrow usage of the term not just sex but also love, which is bigger and more frightening. Eros is a name for a kind of love that’s equal parts passion and torment, a kind of irrational heart fire that opens a gate into something longer-lasting. But it’s love that also feels, in the moment, like hurtling headlong off a cliff. I can’t remember a film that better captures that kind of madness and heightened attention to not just the object of desire but also the world at large. Nor can I recall a movie that more directly appeals to all of the audience’s senses to make them feel what’s happening onscreen. It’s undoubtedly a gay love story, though it’s less about coming out than coming of age. Call Me by Your Name is a lush, heady experience for the body, but it’s also an arousal for the soul. Call Me by Your Name drips with desire as it spins a story of first love Set “somewhere in northern Italy” in the summer of 1983, Call Me by Your Name lingers over six sun-soaked weeks in which everything shifts for Elio Timothée Chalamet. Cocky and preternaturally sophisticated — but with a hint of the insecure teenager still hanging around him — Elio joins his doting, unconventional parents Michael Stuhlbarg and Amira Casar at their comfortable ramshackle Italian villa, where they prepare to welcome their annual guest, the latest in a series of graduate students who spend the summer working with Elio’s father, a classics professor. Michael Stuhlbarg, Timothée Chalamet, and Armie Hammer in Call Me by Your Name. Sony Pictures Classics This summer that student is handsome, confident Oliver Armie Hammer, who has a way of taking up space He’s very tall, for sure, but his very presence seems to fill the spaces he’s in, whether it’s on the court in a casual volleyball game, at a local bar, or dancing in a crowd on the town square. Whereas Elio affects a studied aloofness, Oliver plunges into everything, clumsily destroying one soft-boiled egg at breakfast the first morning, then downing another while murmuring his appreciation, a man of ravenous desire only sometimes held back by a veneer of gentility. He refuses another “I know myself,” he says. “If I have a second, I’m gonna have a third, and then a fourth, and then you’ll just have to roll me out of here.” Elio looks on in wonder as this happens, both disgusted and fascinated by Oliver, who barrels out of rooms hollering, “Later!” Oliver’s frank American confidence is an inverse of Elio’s quieter impishness. The two couldn’t be more different. The chemistry between Hammer and Chalamet, and their performances, sells the relationship completely. They’re true starmaking turns for both actors, along with Stuhlbarg in a brief but key scene. But the spark between them takes a while to fan into a flame, especially since Elio has taken up with a French girl named Marzia Esther Garrel who’s in town for the summer. Oliver and Elio’s relationship starts out combative, with Elio navigating whatever’s happening inside of him by feigning disinterest, playing coy, and watching Oliver from afar while taunting him up close. Eventually they become friends. But one evening his mother reads from a 16th-century French romance, in which a knight yearning for a princess with whom he’s formed a friendship wonders, “Is it better to speak or to die?” And Elio decides he has to speak. We know and Oliver and Elio and Elio’s parents know that this can’t last forever, but in capturing the burn, Guadagnino makes us feel Elio’s desire, and thus his devastation. Every image practically drips with longing a live fish someone’s caught in the river, pages flapping in the hot breeze, water pouring from a tap into a stone pool, a table spread with breakfast preparations, the smoldering end of a cigarette. And, of course, the bodies of beautiful young people, which seem to have very little shielding them from the hot Italian sun. Timothée Chalamet and Armie Hammer in Call Me by Your Name. Sony Pictures Classics In this film, as in earlier ones like A Bigger Splash and I Am Love, Guadagnino’s sensual attention to the textures and smells and intimate noises of Italian life builds out a cinematic world that encompasses his characters but is much greater than them. It’s no accident that Heraclitus’s The Cosmic Fragments, philosophical texts about the world rather than just man, makes a brief but pointed appearance. The score mingles all kinds of music together — notably, John Adams’s “Hallelujah Junction,” the Psychedelic Furs’ “Love My Way,” and two original songs by Sufjan Stevens — and it feels like this movie is sparkling, as if you’re watching it in 4D. It’s intoxicating. It’s also pointedly Edenic, capturing a paradise that will inevitably be lost — but how pregnant with weighty joy and fullness the paradise is in the meantime; the inevitable loss seems only to heighten this. In A Bigger Splash, paradise falls when the snake of jealousy winds its way into the bliss; in Call Me by Your Name, it’s the simple, inevitable parting mandated by the ways that age and culture and station will keep Elio and Oliver apart. Call Me By Your Name draws on ancient themes while mingling together deeply human experiences The name of the film, and a pivotal moment in it, comes from Oliver pleading in a whisper to Elio, after they’ve finally slept together, for him to “call me by your name, and I’ll call you by mine.” It feels like an odd request at first, until you remember an idea that surfaces in Plato’s Symposium that in Greek mythology, humans were created as four-armed, four-legged, two-faced creatures, but split apart by Zeus and condemned to spend life searching for their other halves. In the Symposium’s rendering, whether one searches for a female or male half has to do with the nature of your original being, and there are various means through which two halves who find each other might live in companionship. But “when one of them meets with his other half,” it continues, “the actual half of himself, whether he be a lover of youth or a lover of another sort, the pair are lost in an amazement of love and friendship and intimacy, and would not be out of the other’s sight, as I may say, even for a moment.” This is the highest form of love — “the people who pass their whole lives together; yet they could not explain what they desire of one another.” This is, in other words, an origin story for what we moderns might call soulmates, and it hums through Call Me by Your Name like electricity. Timothée Chalamee and Armie Hammer in Call Me by Your Name. Sony Pictures Classics Ancient sculptures of figures who, as Elio’s father puts it, “dare you desire them” recur throughout the movie, strengthening the allusion to the ancients. And it mixes the pagan with the idea of a Garden of Eden — when Elio and Oliver spend their first night together, it’s certainly explicit at first, but then the camera pans out the window to rest on a tree. And a piece of juicy, luscious fruit shows up in a key, unforgettable scene that weaves together the natures of desire and guilt. But unlike the story of the Garden of Eden, there’s nothing like sin in Call Me by Your Name’s vocabulary — or at least, nothing puritanical. One assumes, watching the film, that a puritanical thought has never entered Guadagnino’s head. This isn’t a film about wrongdoing and punishment; it is about love, loss, and piercing joy in the context of a gay romance. Elio’s father, speaking to him near the end of the story, lays out the movie’s sense of what’s right and what’s wrong “Our hearts and our bodies are given to us only once,” he says. “And before you know it, your heart’s worn out. And as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now, there’s sorrow, pain. Don’t kill it, and with it the joy you’ve felt.” It is worth wading into desire, the movie suggests; it’s the only way to be alive, both in the good parts and the painful ones. The way Call Me by Your Name intermingles lust and love, desire and selflessness, flesh and soul is fully in service of Eros, but it isn’t just about sex, though that’s certainly a big part of it. It’s also trying to make us feel a mingling of souls that have found each other, and evoke the exhilaration of that meeting. It summons an erotic orientation toward the world with all its power, and then pours it onto the audience. It is, undoubtedly, Guadagnino’s masterpiece. Call Me by Your Name opens in theaters on November 22. $95/year $120/year $250/year $350/year Other Yes, I'll give $120/year Yes, I'll give $120/year We accept credit card, Apple Pay, and Google Pay. You can also contribute via There is a scene toward the end of Call Me by Your Name, Luca Guadagnino’s intimate and piercingly honest adaptation of Andre Aciman’s superb novel, in which a graying university professor in Italy sits down with his puffy-eyed, 17-year-old son for an unexpected talk. Dad quotes Montaigne’s famous phrase about his special friendship with Étienne de La Boetie. His son, who has been very smart academically for some time but only recently experienced an important emotional growth spurt on his way to adulthood, understands that his father is referring to his offspring’s “special friendship” with the handsome, 24-year-old intern from the who stayed with them for the summer and has just returned home. In someone else’s hands, the exchange might have become pretentious, ridiculous or melodramatic and lachrymose, but Guadagnino, most famous for the far splashier features I Am Love and A Bigger Splash, finds exactly the right tone for the material, which is understated and filled with paternal affection. Even viewers who aren’t able to identify the quote by Montaigne, uttered in the original French, will understand that Dad is using a common intellectual interest as a safe way to express a new idea. It is this kind of attention to detail — much of it lifted directly from the book, adapted by Guadagnino with James Ivory and editor Walter Fasano — that provides the film with its unexpectedly deep wells of emotion and surges of insight into human nature and relationships. The Bottom Line Call me a successful adaptation. Starring a never-more-sensual Armie Hammer as the intern, the breathtaking Timothee Chalamet formerly of Homeland as the son and the great Michael Stuhlbarg as the father, this tender and minutely observed queer romance, set in bucolic Lombardy changed from the Ligurian seaside in the novel, could, with the right marketing, become a breakout title for Sony Pictures Classics. Professor Perlman Stuhlbarg is specialized in Greco-Roman sculpture and has a summer intern over every year in the family’s 17th century country palazzo. When the guest arrives, Perlman’s only child, the lanky and studious teenager Elio Chalamet, is asked to leave his bedroom to Oliver Hammer and move into an adjacent storage room for the summer. Like the ritual that gives the film its title, this is not an insignificant detail, as the transfer of bedrooms already suggests that Oliver and Elio are closely connected and, to a large extent, at once interchangeable and part of a single, greater whole. Initially, the inexperienced Elio doesn’t quite know what to make of the American seven years his senior and the feeling seems mutual. The cinematography from Thai director of photography Sayombhu Mukdeeprom Uncle Boomee…, Arabian Nights reflects this idea, keeping everything in medium or wider shots and only rarely moving into the characters’ private spaces. The first close-up of Elio, while he intently watches Oliver dance with a girl at a village party, thus arrives as something of a shock. Perhaps even for Elio Could he be questioning himself, wondering whether he’s jealous? Since the action is set not only in Italy but also in 1983, this same-sex attraction would not be readily accepted, so the characters need to be eased into admitting what they might be feeling for each other. As in the scene quoted earlier, seemingly innocent elements of culture — Greek statues, medieval novels — are leveraged to discuss certain ideas that cannot be uttered out loud. In one of the film’s most daring choices, the realization that the two might be talking about the same thing is shot around a Battle of the Piave monument on a piazza in a wide shot, Elio’s back toward the camera and Oliver much further back, his face barely visible. The counterintuitive choice places the two men, talking about the love that dares not speak its name, out in the open but because we can’t see their faces clearly, they could be anyone. The camera moves in for their first kiss, however, a pastoral moment of joy that recalls the discovery of love in the countryside around Cambridge in Forster’s classic novel Maurice Ivory directed the film version in 1987. From that moment on, their relationship develops in fits and starts, as Oliver initially wants to “remain a good boy” and “not corrupt” Elio, but the hungry adolescent wants more. Both also have dalliances with local girls — these subplots have been heavily pruned from the novel — which here feel like ammunition in the tug-of-war between two men destined for each other. Some elegant visual shortcuts, such as the Star of David necklace that Elio starts wearing again after having discovered Oliver also has one both are Jewish, also help condense some of the novel’s midsection. The couple’s physical rapport is an essential part of the novel, and the film is extremely sensual, with both leads frequently walking around in just swim shorts during the languid summer days. The handful of sex scenes are tastefully shot but short and not particularly explicit, though Aciman’s famous peach scene — Google this at your own risk if you haven’t read the novel — is featured here in modest but unambiguous fashion. The relative discretion about the full physical compatibility of the men could potentially help the film gain a wider audience beyond the LGBTQ community, but feels a little too restrained for who these characters have become by the time they consummate their relationship. Though Hammer might be the bigger star and he certainly has a juicier-than-usual role here that he clearly relishes, the true breakout of the film is 21-year-old Chalamet. Elio is someone who is experiencing a lot of things for the first time, for which he barely has any words, but Chalamet’s face and body language turn his character into an open book. The minutes-long and wordless final shot, another rare close-up of Elio, is so mesmerizing that it immediately cements his status as one of the world’s brightest young talents. The chemistry between the men is palpable, but what’s more important, they convey their characters’ complex emotions, expectations and thoughts without necessarily opening their mouths. The rest of the small cast, very much including Stuhlbarg, in that scene mentioned at the start of this review and elsewhere, is also uniformly excellent. A minor detail that will be problematic for audiences in Europe is the mix of languages used, with the Perlmans in the film an unconvincing hodgepodge of Italian, French and American ancestry. The large amount of French dialogue can partially be explained by the fact that the film is a French co-production, though the only actor who convincingly pulls off all the languages she supposedly speaks fluently is Kurdish-Russian actress Amira Casar, who plays Mrs Perlman. The film’s costumes and production design nail the look of 1980s rural Italy, with Guadagnino actually having shot in and around the picturesque village where he lives. References to political life in Italy, entirely absent from the novel, are also convincing and add texture. Some classical pieces and Sufjan Stevens’ glorious score complete the all-round classy package. Production companies Memento Films, RT, Frenesy, Water’s End Cast Armie Hammer, Timothee Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois, Vanda Capriolo, Antonio Rimoldi Director Luca Guadagnino Screenplay Luca Guadagnino, James Ivory, Walter Fasano, based on the novel by Andre Aciman Producers Peter Spears, Luca Guadagnino, Emilie Georges, Rodrigo Teixeira, Marco Morabito Director of photography Sayombhu Mukdeeprom Production designer Samuel Dehors Costume designer Giulia Piersanti Editor Walter Fasano Music Sufjan Stevens No rating, 130 minutes Netflix HomeUNLIMITED TV SHOWS & MOVIESSIGN INOh no! This title currently isn’t available to watch in your 12m DramaIn the summer of 1983, 17-year-old Elio forms a life-changing bond with his father's charismatic research assistant Oliver in the Italian Chalamet, Armie Hammer, Michael StuhlbargMore Like ThisGo behind the scenes of Netflix TV shows and movies, see what's coming soon and watch bonus videos on Call Me By Your Name – Một tựa đề nhẹ nhàng nhưng lại gây ám ảnh vô cùng. Một câu chuyện tình ngắn ngủi nhưng thật đẹp, một cuộc gặp đơn thuần nhưng lại để lại bao nhiêu hoài niệm suốt cả cuộc đời. Dường như nhà văn André Aciman đã khéo léo gom hết những câu từ hoa mỹ nhất để có thể lột tả được một tình yêu của thời đại và truyền tình yêu đó chân thực và kỹ lưỡng nhất đến hàng triệu đọc giả toàn cầu. Call Me by Your Name là câu chuyện kể về cuộc tình lãng mạn giữa 2 chàng trai trẻ Elio và Oliver. Như mọi năm, vào mùa hè, khi kỳ nghỉ đã bắt đầu, gia đình Elio đều chào đón một sinh viên mới từ trường đại học của bố anh để phụ giúp ông công việc viết sách và nghiên cứu. Elio không hề thích thú với truyền thống này vì cậu phải chia sẻ không gian phòng ngủ của mình với những vị khách của bố. Và năm nay, đó là Oliver. Nhân vật Elio trong phim Call Me By Your Name Cuộc tình lãng mạn giữa Oliver và Elio được lấy bối cảnh trên nền bức tranh thiên nhiên nước Ý vào những năm 80 của thế kỷ 20. Tại đây, cái nóng mùa hè Địa Trung Hải thật khiến người ta phải cảm thấy khó chịu. Nhưng dưới góc nhìn của Elio, mọi thứ đều thật yên bình và tuyệt đẹp như những giai điệu piano mà anh ấy viết lên vậy. Mùa hè tại Địa Trung Hải được André Aciman tả rõ đến nỗi, người đọc có thể cảm nhận được cái nóng chạm đến từng da thịt hay sự mát lạnh đầy sảng khoái khi Elio chìm mình vào trong những dòng nước; bạn có thể ngửi được mùi hương thoang thoảng của những quả đào đến mùa chín sau vườn nhà Elio; nghe tiếng râm ran của cái nắng trên những con phố mà Elio đi qua; hay chiêm ngưỡng kiến trúc cổ kính đã ngả vàng bởi cái nắng của những tòa nhà nước Ý. Với một người say mê âm nhạc như Elio, đây là khung cảnh tuyệt vời nhất để cậu có thể thả mình vào những giai điệu âm nhạc, lấy cảm hứng để viết tiếp những nốt nhạc dang dở. Tình yêu là thứ mà chính chúng ta phải tự khám phá Call Me By Your Name được André Aciman lựa chọn dẫn dắt bằng lời tự thuật của nhân vật Elio. Elio – cậu thiếu niên 17 tuổi được miêu tả với bản tính hướng nội và thiếu kinh nghiệm trong tình trường. Có thể thấy rằng, đây là một lựa chọn thông minh của André để có thể miêu tả chân thực nhất về những diễn biến tâm lý và phát triển tình yêu của những thiếu niên như Elio. 17 tuổi – độ tuổi hoàn hảo để bắt đầu khám phá về tình yêu, nhưng lại đầy bối rối khi cậu phát hiện ra rằng mình hoàn toàn bị thu hút bởi bởi 1 chàng trai thay vì một cô gái. Elio một người thích quan sát, cậu nhận thấy được sự khác biệt cả về tính cách và phong thái giữa mình và Oliver ngay lần gặp đầu tiên. Oliver – chàng trai trẻ 24 tuổi với phong thái tự tin, đĩnh đạc, cùng với lối sống phóng khoáng, cởi mở đậm chất Mỹ. Nhưng cậu không ngờ rằng, chính sự khác biệt đó đã khiến cậu không thể rời mắt khỏi Oliver. Khi Elio gặp Oliver, cậu đang trong quá trình tìm hiểu và có phần yêu thích Marzia – cô bạn gái người Ý bằng tuổi. Dù đã nhiều lần bày tỏ tình cảm với Marzia, nhưng sự nhớ nhung đến rạo rức, sự ghen tuông thầm kín hay niềm khao khát muốn ở bên lại được cậu dành cho Oliver. Đó là lúc Elio bắt đầu biết mình thích mùi hương của Oliver, thích ngắm nhìn Oliver, thèm muốn Oliver mỗi khi cậu lách người qua cánh cửa ở phòng cậu mà vẫn không quên hướng đôi mắt tò mò của mình sang bên giường của Oliver. Đối với một cậu bé 17 tuổi thì điều này thực sự bối rối, khi cậu chứng kiến cuộc hôn nhân bền đẹp của bố mẹ mình, những mối tình nam – nữ dường như đã trở thành quy luật tự nhiên trong thế giới cậu. Những cậu lại dành tình cảm cho một người con trai, chưa ai nói với cậu về tình yêu đồng giới bao giờ. Thật khó khăn khi chính cậu phải trả lời cho những cảm xúc kỳ lạ của mình đối với Oliver. Call Me By Your Name – Tình yêu không rào cản Những cảm xúc không kiểm soát đã thúc đẩy Elio đưa đến quyết định thổ lộ với Oliver bằng một nụ hôn. Thật bất ngờ khi cậu nhận được hồi đáp từ Oliver và biết rằng Oliver cũng có những cảm xúc giống như mình. Tình yêu của Oliver và Elio hoàn toàn không có rào cản, họ ở cùng một căn phòng, họ có thể thoải mái đụng chạm, vuốt ve nhau, trao nhau những lời hoa mỹ và làm tình. Họ thậm chí còn được sự chấp thuận khi cuối tác phẩm bố Elio đã cho Elio biết rằng ông biết câu chuyện giữa 2 người. Một sự chấp thuận mà rất nhiều người ở cộng đồng LGBT hằng mơ ước. Có hay chăng, rào cản lớn nhất đó chính là thời gian và hoài bão. Thời gian khiến họ sợ hãi, họ biết họ chỉ có 6 tuần dành cho nhau trước khi Oliver quay trở lại Mỹ. Nhưng cũng chính thời gian lại là thứ khiến họ khao khát muốn gần gũi nhau hơn, muốn bộc lộ bản thân mình hơn, muốn đắm chìm trong chuyện tình này lâu hơn. Nỗi khắc khoải cứ lớn dần lên vào những ngày Oliver sắp rời đi, để biết rằng tình yêu mà họ dành cho nhau to lớn và mãnh liệt đến nhường nào. “Xin để mùa hè đừng bao giờ kết thúc, xin để anh ấy không bao giờ ra đi, xin để bản nhạc này vang lên mãi mãi, tôi chỉ ao ước bấy nhiêu thôi, và tôi thề sẽ không ước ao gì thêm nữa.” 2 người vẫn quyết định rời xa nhau. Đối với họ, mùa hè này đã thật hoàn hảo trong tâm trí của mỗi người, tình yêu này đã trọn vẹn trong trái tim của mỗi người, thể xác này đã hiểu rõ tường tận trong những lần thân mật. Dù được đánh giá là một trong những cái kết đầy hối tiếc, nhưng theo đánh giá riêng của Tạp Chí Review đó là một cái kết phù hợp cho tình cảm chông chênh vào những ngày hè ngắn ngủi. Một trong lý do cho sự hợp lý đó là hoài bão, là những ước mơ khác luôn song hành cùng 2 người. Khi Oliver mong muốn trở thành một giáo sư uyên bác, Elio thì đã sớm bước chân trên con đường âm nhạc của mình. Và hãy để câu chuyện tình yêu mùa hè năm đó là những câu chuyện tình đẹp đẽ nhất, trong sáng nhất, thay vì mong muốn một cái kết hạnh phúc cho cả riêng 2 người. Những “điểm sáng” trong Call Me By Your Name Call Me By Your Name là một trong số ít những tiểu thuyết thành công khi lựa chọn chủ đề về tình yêu đồng tính. Dù được phát hành vào năm 2007, khi nhiều nước đã chấp nhận hôn nhân đồng giới, tình yêu đồng giới cũng được xã hội suy nghĩ thoáng hơn. Nhưng để hiểu rõ về quá trình phát triển của một tình yêu đồng giới thực sự là như thế nào, có lẽ phải đến khi cầm trên tay cuốn sách Call Me By Your Name thì chúng ta mới thực sự hiểu hết được. Song hành cùng với câu chuyện tình của Oliver và Elio, André Aciman đã thổi một luồng gió đậm hương vị học thuật vào Call Me By Your Name. Đó là không gian đậm nét văn hóa lịch sử tại vùng Riviera, Ý. Đó là sự uyên bác, thông minh được tác giả miêu tả về bố Elio 1 học giả và Oliver; những buổi chuyện trò giữa 2 người được mở ra với đa dạng chủ đề từ văn hóa, triết học cho đến hội họa, thi ca,…sự dẫn dắt hội thoại đầy ly kỳ và thu hút, khiến nhiều người đọc trong vài phút bất giác quên mất chuyện tình giữa Oliver – Elio, nhường chỗ cho những cuộc trao đổi giữa 2 người. Bên cạnh đó, khả năng chơi dương cầm và piano ấn tượng được miêu tả như một thiên tài âm nhạc – Elio đã tạo nên âm thanh chủ đạo cho toàn bộ tác phẩm. Hơn thế nữa là nhiều sự sắp đặt tài tình khác, cho thấy tầm nhìn và kiến thức uyên thâm của André Aciman đã tạo nên điểm khác biệt so với những câu chuyện tình mà chúng ta thường được biết đến trước đây. Call Me By Your Name đã được chuyển thể thành phim bởi bàn tay đầy tài hoa của đạo diễn Luca Guadagnino. Ông đã rất thành công khi xây dựng được bầu không khí mùa hè của nước Ý đầy chân thực, đúng như miêu tả trong truyện. Thêm vào đó, là sự phối hợp, diễn xuất đầy ăn ý đến từ Timothée Chalamet vai Elio, Armie Hammer vai Oliver. Dù bản phim có một số thay đổi so với nguyên tác, nhưng đây vẫn là một trải nghiệm đáng có để bạn có thể hình dung một cách trọn vẹn Call Me By Your Name trên màn ảnh nhỏ. Tác phẩm Call Me By Your Name đã thắng giải tiểu thuyết chủ đề đồng tính luyến ái tại giải thưởng văn học Lambra. Với những thành công mà Call Me By Your Name mang lại cho André Aciman. Ông đã viết tiếp phần 2 của câu chuyện với tựa đề “Find Me” được xuất bản vào năm 2019, lấy bối cảnh khi Oliver đã có gia đình, Elio thì trở thành một thiên tài âm nhạc và bắt đầu có những mối quan hệ mới. Đối với những độc giả yêu thích Call Me By Your Name, thì phần 2- Find Me sẽ giúp bạn lại được trở về và nhìn ngắm họ cũng như hiểu hơn về tình yêu mà mùa hè năm đó họ đã dành cho nhau. Kết thúc review Call Me By Your Name, chúng tớ muốn gửi gắm đến bạn rằng, đây chắc chắn sẽ là một tác phẩm nên được đặt trên kệ sách của nhà bạn. Để bạn biết rằng, tình yêu là một thứ mãnh liệt, gai góc và không bao giờ có giới hạn. Chúng ta chỉ có thể hiểu thêm về tình yêu qua những chiêm nghiệm của cuộc đời hoặc bắt đầu tìm hiểu với những cuốn sách; chứ không bao giờ có thể “hiểu đủ” về tình yêu. Hãy mạnh mẽ và không ngừng tìm kiếm tình yêu trong cuộc sống này nhé! Review Call Me By Your Name Tapchireview’s rating Luca Guadagnino’s films are all about the transformative power of nature—the way it allows our true selves to shine through and inspires us to pursue our hidden passions. From the wild, windswept hills of “I Am Love” to the chic swimming pool of “A Bigger Splash,” Guadagnino vividly portrays the outside world as almost a character in itself—driving the storyline, urging the other characters to be bold, inviting us to feel as if we, too, are a part of this intoxicating atmosphere. Never has this been more true than in “Call Me By Your Name,” a lush and vibrant masterpiece about first love set amid the warm, sunny skies, gentle breezes and charming, tree-lined roads of northern Italy. Guadagnino takes his time establishing this place and the players within it. He’s patient in his pacing, and you must be, as well. But really, what’s the rush? It’s the summer of 1983, and there’s nothing to do but read, play piano, ponder classic art and pluck peaches and apricots from the abundant fruit trees. Within this garden of sensual delights, an unexpected yet life-changing romance blossoms between two young men who initially seem completely different on the surface. 17-year-old Elio Timothee Chalamet is once again visiting his family’s summer home with his parents his father Michael Stuhlbarg, an esteemed professor of Greco-Roman culture, and his mother Amira Casar, a translator and gracious hostess. Elio has the gangly body of a boy but with an intellect and a quick wit beyond his years, and the worldliness his parents have fostered within him at least allows him to affect the façade of sophistication. But beneath the bravado, a gawky and self-conscious kid sometimes still emerges. By the end of the summer, that kid will be vanquished forever. An American doctoral student named Oliver Armie Hammer arrives for the annual internship Elio’s father offers. Oliver is everything Elio isn’t—or at least, that’s our primary perception of him. Tall, gorgeous and supremely confident, he is the archetypal all-American hunk. But as polite as he often can be, Oliver can also breeze out of a room with a glib, “Later,” making him even more of a tantalizing mystery. Chalamet and Hammer have just ridiculous chemistry from the get-go, even though or perhaps because their characters are initially prickly toward each other testing, pushing, feeling each other out, yet constantly worrying about what the other person thinks. They flirt by trying to one-up each other with knowledge of literature or classical music, but long before they ever have any physical contact, their electric connection is unmistakable. Lazy poolside chats are fraught with tension; spontaneous bike rides into town to run errands feel like nervous first dates. Writer James Ivory’s generous, sensitive adaptation of Andre Aciman’s novel reveals these characters and their ever-evolving dynamic in beautifully steady yet detailed fashion. And so when Elio and Oliver finally dare to reveal their true feelings for each other—a full hour into the film—the moment makes you hold your breath with its intimate power, and the emotions feel completely authentic and earned. The way Elio and Oliver peel away each other’s layers has both a sweetness and a giddy thrill to it, even though they feel they must keep their romance a secret from Elio’s parents. Elio also has a kinda-sorta girlfriend in Marzia [Esther Garrel], a thoughtful, playful French teen who’s also in town for the summer. One of the many impressive elements of Chalamet’s beautiful, complex performance is the effortless way he transitions between speaking in English, Italian and French, depending on whom Elio is with at the time. It gives him an air of maturity that’s otherwise still in development; eventually his massive character arc feels satisfying and true. But Oliver’s evolution is just as crucial, and Hammer finds the tricky balance between the character’s swagger and his vulnerability as he gives himself over to this exciting affair. He’s flirty but tender—the couple’s love scenes are heartbreaking and intensely erotic all at once—and even though he’s the more experienced of the two, he can’t help but diving in headlong. And yet, the most resonant part of “Call Me By Your Name” may not even be the romance itself, but rather the lingering sensation that it can’t last, which Guadagnino evokes through long takes and expert use of silence. A feeling of melancholy tinges everything, from the choice of a particular shirt to the taste of a perfectly ripe peach. And oh my, that peach scene—Guadagnino was wise when he took a chance and left it in from the novel. It really works, and it’s perhaps the ultimate example of how masterfully the director manipulates and enlivens all of our senses. There’s a lushness to the visual beauty of this place, but it’s not so perfect as to be off-putting. Quite the opposite. Despite the director’s infamous eye for meticulous detail, cinematographer Sayombhu Mukdeeprom’s 35mm images provide a tactile quality that heightens the sensations, makes them feel almost primal. We see the wind gently rustling through the trees, or streaks of sunlight hitting Elio’s dark curls through an open bedroom window, and while it’s all subtly sensual, an inescapable tension is building underneath. Guadagnino establishes that raw, immediate energy from the very beginning through his use of music. The piano of contemporary classical composer John Adams’ intricate, insistent “Hallelujah Junction – 1st Movement” engages us during the elegant title sequence, while Sufjan Stevens’ plaintive, synthy “Visions of Gideon” during the film’s devastating final shot ends the film on an agonizingly sad note. You’ll want to stay all the way through the closing credits—that long, last image is so transfixing. I seriously don’t know how Chalamet pulled it off, but there is serious craft on display here. In between is Guadagnino’s inspired use of the Psychedelic Furs’ “Love My Way,” an iconic ’80s New Wave tune you’ve probably heard a million times before but will never hear the same way again. The first time he plays it, it’s at an outdoor disco where Oliver feels so moved by the bouncy, percussive beat that he can’t help but jump around to it and get lost in the music, lacking all sense of self-consciousness. Watching this towering figure just go for it on the dance floor in his Converse high-tops is a moment of pure joy, but it’s also as if a dam has broken within Elio, being so close to someone who’s feeling so free. The second time he plays it, toward the end of Oliver and Elio’s journey, it feels like the soundtrack to a time capsule as it recaptures a moment of seemingly endless emotional possibility. They know what they’ve found has to end—we know it has to end. But a beautiful monologue from the always excellent Stuhlbarg as Elio’s warmhearted and open-minded father softens the blow somewhat. It’s a perfectly calibrated scene in a film full of them, and it’s one of a million reasons why “Call Me By Your Name” is far and away the best movie of the year. Christy Lemire Christy Lemire is a longtime film critic who has written for since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here. Now playing Film Credits Call Me by Your Name 2017 Rated R for sexual content, nudity and some language. 130 minutes Latest blog posts about 3 hours ago 3 days ago 3 days ago 3 days ago Comments

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