Call me by your name

I finally got around to watching Call Me By Your Name this week and I'm still thinking about it days later.

I don't think it's the most epic romance I've ever seen, but it was sweet and lovely and life affirming and such a stark contrast to the life I've been living.

Let's set aside the gay stuff for a second, even though it's more or less central to the whole experience. Just lingering by proxy in such an idyllic setting was ... shocking? Invigorating? I traditionally go to movies to escape to outer space but who knew what I really needed was lingering shots of riding bikes through the Italian countryside? That depiction of life, albeit as inherited wealth, complete with servants, was so refreshing. Even in a much more modest home, would I enjoy swimming every day, riding bikes into town and community events like dancing and volleyball? Yes, yes I would.

Are some of these community things absent from my life because times have changed or just because I have changed into someone who tries very little to improve his life? I don't know, but my relation to the setting of this film is simple longing. Well, longing is a central theme of the film and my relationship to it in general, but specifically the setting. Goddamn gorgeous.

Continuing to put the gay stuff aside temporarily, I also felt a strong sense of desire for Elio's family life. When I was young I dated my own Marzia, the daughter of a professor with a rich family life. their house was a clutter of musty books and their conversations were about music and writers that largely went over my ADD comic-book loving head, but I adored them all the same. Talking about philosophers and composers and the finer points of the humanities is extremely soothing to me, as it turns out, and I appreciate having a friendly place to do that. Elio's family life reminds me much of that time I spent with her and her family.

We even had a similar arc to Elio and Marzia, albeit years later. She admitted she broke up with me because she felt there was always a part of me I couldn't give to her and when I started dating men it clicked. She remains one of my truest friends and still the only ex I have a good and strong connection with. She' is also the sole reminder of what a delight the humanities loving lifestyle can be whenever I visit her and her own giant collection of books and music.

So I long for that scholastic home life, but I also greatly envied Elio a family that only cared that he was happy and supported him no matter who he happened to love. I kept waiting for it to go dark, for his father to become irate, but it never happened. I'm not sure Elio understands how good he has it. But I can't be the only queer watching this with an ache in their heart about how their own family experience contrasts with the almost high fantasy portrayal here. I'm not saying it's unrealistic, just so pure and life affirming that it almost doesn't feel like real life. Real life, historically, being less affirming of the humanity of those experiencing it.

I mean, this film is a pure gay coming of age fantasy in many ways. An ideal setting, an ideal family, an ideal lover, an understanding ex-girlfriend, etc. that's kind of what makes it beautiful. A pure and good expression of the world it is possible to create.

I say it's not an epic romance because while I found the lead actors both handsome and good at their craft, the chemistry didn't seem quite believable to me. As a man who has kissed men I didn't quite buy their sexual chemistry. Of course, epic romance and smoking sex scenes is not really the intent here anyway. It was much more about Elio's awakening and Oliver's liberation at being allowed to be exactly who he was without pretense for a few sweet moments.

Elio's adolescent weirdness rang extremely true for me and Timothee Chalomet did such great work with it. The sense of longing he had for Oliver was very real to me. And rang very true of how weird I was as an adolescent and how I was when I first started to try and date men, albeit at a more advanced age.

Oliver's sense of liberation when he finally gets to be with Elio struck a chord as well. It's left fairly ambiguous whether the both of them are gay or just bisexual but this is clearly a part of them they don't get to express openly in 1983. The sense of joy at being able to let their guard down with each other is very real. Was the tragedy that their joy was to be short-lived solely due to circumstance or from the assumption that this is something they would not be allowed to have long term? Part of the tragedy is we just don't know. Does Oliver get engaged to a woman because he is truly bisexual or because he gives up on ever having what his heart truly desires? Much like Elio's father did, as he reveals in a moving final speech.

So as much as the film is about longing it is also about loss. About letting loss numb you to the point you stop believing you can be who you truly want to be and be with who you truly want to be with. It happened to Elio's father. It may have happened to Oliver. Only Elio, in a moving and lingering final shot on his face as he stares into the fire and lets himself feel what he feels, refuses to cut part of himself away to spare himself pain.

This movie is begging us not to surrender our deepest selves in the face of pain or loss or a world actively hostile to who we truly are. And so I am still thinking about it several days later.