“Oh, to see without my eyes
The first time that you kissed me
Boundless by the time I cried
I built your walls around me”
-Sufjan Stevens, Mystery of Love
There are films that are cornerstones of the history of national and international cinema.
Films that everyone should see at least once in their lives, those that marked a turning point in this world that owes its immense beauty, to the complexity that lies behind its way to communicate with people in front of the big screen, an extremely subjective language,but universally valid at the same time.
I do not have the skills to determine if the film I’m going to talk about falls into this category, but let me say that “Call me by your name” is among the films that have best managed to address my soul.
Exciting, original, innovative and characterized by that dramatic touch that pushes to think again and again, with a lump in the throat, to the story of these two young lovers who had to deal with a titanic force stronger than love and passion that bound them: reality.
Elio, a teenager of seventeen, is going to live a summer that will be upset by the arrival of Oliver, an American student who went to Italy to work on his university doctorate and who, in addition to the archaeological riches of which this land is full, among the orchards and the clear waters of the territory, will find someone to reserve all the attentions which are reserved to the most precious ancient finds: love. Elio’s journey is a journey through which he discovers himself, he lives an encounter that brings him to wear new awareness, while learning to strip his fears and his insecurity.
A journey that strikes those who witness it, precisely because intense, painful and real, how intense, painful and real life can be.
A story told in a complete way, without shame, without cuts, without embarrassment.
The scenes of love consummated between the two young lovers become the concrete expression of classic art, whose sensuality and whose appeal to hedonism respects the limits of beauty without falling into vulgarity.
You are in front of a moving art work, which lives right in front of you, and here you can no longer distinguish a statue of Praxiteles from the naked body of the two protagonists.
The theme of homosexuality is deprived of every cliché and is even secondary in the global scenario of this masterpiece.
You are so impressed by the images, the sublime soundtrack and the story itself, that the fact that they are two men to live it, completely passes into the background.
Luca Guadagnino has the merit of having created a film that you do not forget, a film whose end credits, do not mark an end but a beginning for all the people who get up from the red armchairs of a cinema and find themselves changed.
A film worthy of being called like that, one of those that take you to places you’ve never seen, but where you feel the need to return.
A film that makes you fall in love with the way in which a series of images can dress in poetry and touch the deepest notes of our being, awakening our conscience and returning all its nuances to a world in which everything is desired black and white .