Basking in the endless sunshine of northern Italy, precocious 17-year-old Elio Perlman (Timothée Chalamet) spends the balmy summer days leisurely transcribing classical sheet music and devouring copious amounts of paperback books. His world is drastically turned upside down upon the arrival of Oliver (Armie Hammer), a handsomely suave and emphatically confident post-grad American student who has been flown out to intern for Elio’s father (Michael Stuhlbarg), an eminent professor specialising in Greco-Roman antiquity. Call Me By Your Name is based on André Aciman’s acclaimed 2007 novel of the same name and sees James Ivory (of Merchant and Ivory fame) adapting the source material. Sayombhu Mukdeeprom’s postcard cinematography is sheer artistry too, which elevates the film to a constant idyllic state of temperate wistfulness. The sumptuous pallet hues of red, blue and orange seem to have been lifted straight from a dreamy holiday nostalgia. Chalamet is a revelation newcomer as Elio, weaving between intellectual sureness and emotional vulnerability with authenticity. Hammer brings a heady organic magnetism to Oliver that permeates everyone who comes into contact him. It’s arguably his greatest role since playing the Winklevoss twins in The Social Network. Whilst each performance in Call Me By Your Name is exemplary, it is Chalamet and Hammer who rightful deserve the swirling Oscar buzz. The retro 1980s backdrop is ever presence from unmistakable pop soundtrack (which includes The Psychedelic Furs) to Elio’s Sony Walkman. It is an era which has been loving remastered. Bookending this poignant love affair is an eloquently charged speech from Elio’s father, which is one of finest monologues cinema has ever witnessed. Its frank forthrightness will touch the souls of every audience member. Bowing out with the most heartbreaking credits of 2017, Call Me By Your Name is an exquisite, cinematic portrayal of love.
