Oscars’ Shots – “Tamte dni, tamte noce”

The last year’s Oscars was an expression
of a certain trend. The best example was “Moonlight”
(2017, dir. Barry Jenkins), the movie that uses simple schemes that are uplifted
in an exaggerated artistic form, but at the same time creating an ambiguous, very complex portrait of an African-American, homosexual, but also – above all – a torn, lost man. Cinema about minorities finally ceases to emphasize
the singularity of groups, and starts to tell stories through universal experiences. In this way it humanizes this gay guy or black person, treating them as full-fledged people. In “Call Me by Your Name” (2017) Luca Guadagnino managed to capture the volatility of adolescence and the sensuality of the first love elation, in the story
of Elio (Timothée Chalamet), who is just getting to know his own sexuality. The director takes us back to 1980s Italy. The boy spends his holidays with his parents in
a beautiful, 17th-century villa surrounded by nature. He spends his days on reading, playing piano
and having fun with collegues, during which he makes a brief flirtation
with his friend, Marzia. This peaceful rest for Elio interrupts appearance in
the homestead of an American scholarship holder Oliver (Armie Hammer), who came to work
on his PhD degree with boy’s father. The presence of young, beautiful, intelligent young man initially iritates Elio, but with a time, it starts to evolve into fascination,
and finally in the first real youthful love. Guadagnino managed to describe this elusive ephemeral nature of very intense feelings, which find their highlight in a wonderfully filmed, full of vivid colors surrounding nature, culture and nostalgic soundtrack. Somewhere above all this is the spirit of
unforgettable movies of Luchino Visconti. Not only due to modernist narration, not only because of literature fascination. But also through the huge nostalgia
for losing something very important. Elio and Oliver cannot be completely honest
with each other. Of course, the social norms of the time, which don’t give them a chance for a common future, also play their role. More important, however, is the fact of
the universal ephemerality of feelings, which is simply difficult to precisely describe. The characters try to find a different way of expressing them, they try to show them between words. This is also reflected in the practice of calling themselves by the name of the lover, so wonderfully summarized in the title of the film. Thanks to all that “Call Me by Your Name” creates a coherent, subtle image of youthful elations. Elations, which nostalgia in some way somehow affects us all. – Muscles are firm. Not a straight body
in these stautes. They’re all curved. Sometimes impossibly curved, and so nonchalant. Hence their ageless ambiguity,
as if they’re daring you to desire.

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