Call Me by Your Name

This romantic drama is more fully and convincingly realized than most cinematic love stories in recent memory. Call Me by Your Name captures that affliction that all of us should have the chance to suffer: crazed, unreasonable first passion. The story is a bit unusual -- for Hollywood, that is -- in that it happens to be about two men, but that's only a detail in this beautiful film in which every element feels as vivid as the lovers' drive for each other. Director Luca Guadagnino richly captures a sense of place, whether in the bright sunshine of an Italian summer or the dying light in one of the house's rooms in early evening. "Vivid" is the word; it all feels as specific as the sharpest recollections of first love: the taste of the fruit that season, the Psychedelic Furs music they dance to at the club, the flashes of weird, inexplicable behavior. That the characters' passion is presumably forbidden (Elio is an older teen, while Oliver is an impossibly perfect grad student in his early 20s) only makes it more potent for those under its spell.

As Elio, Chalamet exudes real star quality. The role is demanding -- Elio is a gifted multi-instrumentalist who's highly intelligent and articulate and possessed of a kind of unsure charm. That's a lot, and Chalamet delivers it all while losing himself in an unexpected emotional rollercoaster. Hammer, meanwhile, is ideally cast as an all-American golden boy who's all confidence and ease. His Oliver is good at everything, but when he finally tips his hand romantically, he has endearing moments of vulnerability. And everyone should be so lucky as to have parents as interesting and understanding as those played by Almira Casar and Stuhlbarg. The dialogue, while highly intelligent, stays emotionally understated until the relationship blossoms, containing itself in all-subtext scenes like a wonderfully choreographed confession staged around a statue in a public square. There does seem to be a moral to this story, expressed in a simple, lovely scene of comforting. In celebrating the irreplaceable glory of love in the face of the agony of loss, one character says, "To make yourself feel nothing so as not to feel anything ... what a waste."