In 1983, the son of an American professor is enamored by the graduate student who comes to study and live with his family in their northern Italian home. Together, they share an unforgettable summer full of music, food, and romance that will forever change them.
Set over one summer, the film follows precocious 6-year-old Moonee as she courts mischief and adventure with her ragtag playmates and bonds with her rebellious but caring mother, all while living in the shadows of Disney World.
An other-worldly fairy tale, set against the backdrop of Cold War era America circa 1962. In the hidden high-security government laboratory where she works, lonely Elisa (Sally Hawkins) is trapped in a life of isolation. Elisa's life is changed forever when she and co-worker Zelda (Octavia Spencer) discover a secret classified experiment.
Guillermo del Toro
CALL ME BY YOUR NAME, the new film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman. It's the summer of 1983 in the north of Italy, and Elio Perlman (Timothée Chalamet), a precocious 17- year-old American-Italian boy, spends his days in his family's 17th century villa transcribing and playing classical music, reading, and flirting with his friend Marzia (Esther Garrel). Elio enjoys a close relationship with his father (Michael Stuhlbarg), an eminent professor specializing in Greco-Roman culture, and his mother Annella (Amira Casar), a translator, who favor him with the fruits of high culture in a setting that overflows with natural delights. While Elio's sophistication and intellectual gifts suggest he is already a fully-fledged adult, there is much that yet remains innocent and unformed about him, particularly about matters of the heart. One day, Oliver (Armie Hammer), a charming American scholar working on his ... Written by
Sony Pictures Classics
Sufjan Stevens wrote two original songs for the film when only one was requested. The songs are "Visions of Gideon" and "Mystery of Love". Stevens was asked to remake his song "Futile Devices" (from the album The Age of Adz), with piano to be close to Elio. See more »
If you have ever stumbled upon an Insta story of a brunch table with a polo shirt lightly hanged on the brim of the chair, a visibly used Penguin edition of a Thomas Mann roman and a moleskin notebook full of pretentious calligraphy, all serving as props, welcome to Guadanino's world. The characters are moving advertisements of Polo and Lacoste who carry books they have never read as medals, cite snippets of poets they never got and surround themselves in a world of art to boost their shallow egos. Every character of this film is a poor copy of a real life personality: see the professor who is a more handsome, gay friendly version of Umberto Eco. Under all this stylization lies nothing. All the spontaneous action feels terribly staged and you can taste a fear in the air. The fear that if an actor misses one step of this mind numbing choreography, the whole world will crumble. Don't ask me to think highly of a director who dedicates a whole scene to advertise espresso.
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