Call Me By Your Name only grows in my estimation, and we wanted to go backwards through Guadagnino's "Desire" trilogy to see just where he came from. This film features three enormously good lead performances and Dakota Johnson.
Ralph Fiennes is most surprising as an exuberant libertine music producer, full of energy and lust and knowledge of the hidden gems on this beautiful Italian island he claims to hate. The romantic rival to his Zorba is Matthias Schoenaerts, who plays frustrated repressive very well.
Tilda Swinton gets to play otherworldly, her wont, as a rock star recovering from vocal surgery and thus effectively mute. It gives the other actors a fighting chance.
I loved to see visual motifs p-recur from CMBYN, as another ad-hoc family luxuriates in Italian summer. Submerged masculinity. Wild, hillside tumbled rock versus various happenstance-laid stone, enduring with the intentions of whoever laid it centuries ago.
Guadagnino touches on the migrant crisis in several places, and his North African roots seem to give him at least as much empathy for those as these privileged visitors.
Yorick Le Saux continues to be one of my favorite cinematographers.
I have had a situation recently where we had a houseguest, an old friend, that I merely tolerated, so when that betrayal in status reveals itself to be the engine of anger in Harry against Joe, it sunk me. This could have been set in Roman times, or the Renaissance, and the structure would have been the same. Trying to protect your life from the winds, even bearing Sahara sand, can do more damage than letting them blow through.
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