Director:
Luca GuadagninoGuión:
James IvoryCámara:
Sayombhu MukdeepromReparto:
Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois, Peter Spears, Vanda CaprioloStreaming (4)
Sinopsis(1)
Es el verano de 1983 en el norte de Italia y Elio Perlman (Timothée Chamalet), un chico ítalo-estadounidense precoz de 17 años, pasa los días en la villa familiar del s. XVII transcribiendo y tocando música clásica, leyendo y flirteando con su amiga Marzia (Esther Garrel). Elio tiene una estrecha relación con su padre (Michael Stuhlbarg), un ilustre profesor especializado en cultura grecorromana, y su madre Annella (Amira Casar), una traductora, y entre ambos le han dotado de una amplia cultura en un entorno que rebosa de encantos naturales. Aunque la sofisticación y don intelectual de Elio podrían sugerir que es un adulto hecho y derecho, todavía tiene cierta inocencia y temas en los que desarrollarse, especialmente en los del corazón. Un día, Oliver (Armie Hammer), un cautivador investigador americano que trabaja en su doctorado, llega para ayudar al padre de Elio como becario durante el verano. En medio del soleado esplendor de este marco, Elio y Oliver descubrirán la embriagadora belleza del despertar sexual a lo largo de un verano que cambiará sus vidas para siempre. (Sony Pictures Esp.)
(más)Reseñas (9)
If awards were given solely for building an atmosphere that supplements the narration of a story, Guadanino would need to build a two-story shed in his garden to house them. Call Me By Your Name is an incredibly focused film that you have to watch with attention to find meaning in the details and the snippets of a story unbound by logical conflicts and twists. There were moments when it felt tedious and aloof, and the message didn’t hit me right in the heart, but this is a big movie, no doubt, with brilliant performances and a narration with a feeling for credible emotions about the complexity of deep human relationships. Moonlight may have won the Oscar, but compared to this formally precise probe into male intimacy, it feels like a very shallow and empty wannabe arthouse flick (which it basically is). 85%
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Es un Ciudadano Kane para la comunidad gay. Una película que habla abiertamente, pero con elegancia y sensibilidad, de todo lo que Moonlight: La historia de una vida temía decir, y lo enmascaraba con el brillo artístico de la luz de la luna. Una obra maestra con muchas escenas incómodas para el espectador heterosexual, pero una narración suprema para el cinéfilo exigente y perspicaz. Es una de las películas más potentes sobre el primer amor y la pasión cien por cien comprometida de un hombre por otro hombre. Su fuerza está en el detalle y precisión con los que describe la profundización de una pasión prohibida. En la dirección de los actores, que consigue unas interpretaciones fenomenales. El uso de la música es original, capta bien la atmósfera y el estado de ánimo de la época y el lugar, y su motivo principal, entorno a las obras de arte y la admiración por ellas y, sobre todo, el monólogo final del padre y los créditos finales. Todo el tiempo, pero especialmente desde el primer diálogo abierto en la plaza, tuve la sensación de estar viendo un clásico del cine de los setenta de uno de los maestros del cine europeo como Tornatore o Fellini. El cine de relaciones románticas referenciales que aprenden en las escuelas de cine y que nadie intenta siquiera imitar, y mucho menos superar.
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No niego a la calidad artística y la exitosa atmósfera del campo lombardo, "donde el perro murió" y en verano no tienes que hacer otra cosa más que descansar junto al agua y pensar con quién te gustaría salir a bailar o coquetear. Pero la segunda parte de la película ya no me atrajo con su tema y creo que fue innecesariamente alargada. La nominación al Oscar para Chalamet es probablemente un error, o solo se le otorga por la magistralmente emotiva escena final. Considero que el punto culminante de la película es el monólogo del padre de Elie: "Cuando menos lo esperas, la naturaleza astutamente encuentra tu debilidad..." Una película atmosférica decente.
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The performances of Armie Hammer and Timothée Chalamet have received all the honours, but the hero, and the main reason why Call Me by Your Name is one of the best films of the year, is the director, Luca Guadagnino. It’s amazing how he managed to capture the atmosphere of the place and the time where a story like this can happen. Summer in Lombardy, where everything is soaked in rich history, antiquity and the renaissance, the love for knowledge, the fascination for art, philosophy and beauty as such – of body and mind. That’s why the monologue of the father at the end makes sense and why it could be so non-conflicting.
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To be honest, this film is nothing special. A summer Italian drama from the eighties, whose benefit is certainly the music, which makes this movie quite interesting. However, the acting is nothing unique. The premise of The Brokeback Mountain is set in the Italian countryside and highlighted by culture, historic buildings, beaches and first loves. Everything is good, I would just simply leave out the main plot.
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A gentle story of one summer that hides a surprisingly strong added value thanks to its free atmosphere. Though at first it seemed a bit too artsy for a love story, from the moment an elusive feeling starts to emerge between the piano notes, Luca Guadagnino was effortlessly leading me on a hook. And however much some viewers may argue that two hours is too long for a story unfolding this casually, I would gladly welcome another two. I was so tense, afraid this delicate bond would break.
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If the whole film had ridden a similar easygoing wave as it did in its last third, it would have been a memorable experience for me. But unfortunately, the impressive conclusion is preceded by a very lengthy "prologue" that really made it hard to watch with its impressionistic, even poetic, nature. I have nothing to fault the cast, Timothée Chalamet and Armie Hammer had the necessary chemistry between them and I trusted them. But I'm a bit stumped as to how the film won the Oscar for Best Adapted Screenplay – personally, I would have cut it by at least twenty minutes and added to the build-up of the plot. On the one hand, I understand the intention in terms of the gradual narrative and the birth of a fragile relationship between two people, but as a viewer I simply found it taxing in terms of holding my attention. The highlights for me were undoubtedly the scenes of Elio and Oliver's last days together and the final conversation between father and son. With this film, on the one hand, I understand all the fuss and positive reactions, which is why, on the other hand, it makes me all the more sorry that I can't join the enthusiastic fans and admirers of this piece of cinema. (P.S. Maybe I'll come back to the film after reading the book and reconsider everything!)
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Timothée Chalamet and his portrayal of a teenage boy unsure of his orientation who falls in love with an older intern is fine, but that's about it. The performance is respectable, but the rest isn't worth much. The locations are uninteresting, the plot is practically non-existent and the 130 minutes are just too much. A huge borefest...
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This is a romantic film about two young men falling in love, one of who is a little younger. At first glance, it’s nothing revolutionary, but at second glance it’s a beautiful film about love, nature, people, and a time period. Everything here is captured so accurately, naturally, and sensitively that the entire time I was watching how simply beautiful a film can be.
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