- A++ sound design.
- Great last shot.
- Good sense of place.
- It uses Italy’s beauty as a crutch.
- The filmmakers made some very unusual decisions for the Bergamo scenes.
- I’m not a fan of the soundtrack.
- Elio and Oliver have no romantic chemistry (although they are believable friends), and Elio does not seem ready for a relationship with an adult (makes me uncomfortable with the interactions between the two of them and the tone of the film).
- I felt a huge disconnect with reality with many of the characters’ actions, but here’s the big one: what mother (even a highly progressive one) sends their 17-year-old son or daughter off with an older man? The age of consent in Italy makes the relationship legally acceptable and narratively okay, but nothing justifies the mother’s actions from a character stand point. Since her actions aren’t within the catalogue of motherly characteristics, the filmmakers must give some justification for me to accept it as plausible. For example, mothers or mother-surrogate characters are naturally protective of their dependents, so if a dependent is about to be shot by a gun, I expect the mother character to step in front of the bullet. If, instead, the filmmakers choose for her to stand there and watch her dependent get shot, I would need an explanation or justification for the (in)action (for example: mental illness in Shutter Island, forced decision in Sophie’s Choice). Call Me by Your Name is very naturalistic in approach in all other areas, so some sort of rationale for the characters’ actions, given subtlety or otherwise, is essential. The film lacks this throughout with it being most problematic with the outset of the Bergamo scenes.