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Star: Michael Stuhlbarg. runtime: 132Min. creator: André Aciman. . countries: USA. 2017

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Call me by your name script. Call me by your name vinyl. Call me by your name interview. Call me by your name torrent. Call Me by Your name generator. Call me by your name ost. Call me by your name dance. Call me by your name crack. Call me by your name sequel. Call me by your name full movie free. Won 1 Oscar. Another 96 wins & 252 nominations. See more awards » Learn more More Like This Comedy | Drama 2 3 4 5 6 7 8 9 10 7. 4 / 10 X In 2002, an artistically inclined seventeen-year-old girl comes of age in Sacramento, California. Director: Greta Gerwig Stars: Saoirse Ronan, Laurie Metcalf, Tracy Letts Biography 7. 3 / 10 Based on the best-selling pair of memoirs from father and son David and Nic Sheff, Beautiful Boy chronicles the heartbreaking and inspiring experience of survival, relapse and recovery in a family coping with addiction over many years. Felix van Groeningen Steve Carell, Maura Tierney, Jack Dylan Grazer Romance 8 / 10 An introvert freshman is taken under the wings of two seniors who welcome him to the real world. Stephen Chbosky Logan Lerman, Emma Watson, Ezra Miller 7. 9 / 10 Jo March reflects back and forth on her life, telling the beloved story of the March sisters - four young women, each determined to live life on her own terms. Florence Pugh Music While navigating their careers in Los Angeles, a pianist and an actress fall in love while attempting to reconcile their aspirations for the future. Damien Chazelle Ryan Gosling, Emma Stone, Rosemarie DeWitt A young African-American man grapples with his identity and sexuality while experiencing the everyday struggles of childhood, adolescence, and burgeoning adulthood. Barry Jenkins Mahershala Ali, Naomie Harris, Trevante Rhodes 7. 8 / 10 A seventeen-year-old aristocrat falls in love with a kind but poor artist aboard the luxurious, ill-fated R. M. S. Titanic. James Cameron Leonardo DiCaprio, Kate Winslet, Billy Zane Adventure Fantasy At a top secret research facility in the 1960s, a lonely janitor forms a unique relationship with an amphibious creature that is being held in captivity. Guillermo del Toro Sally Hawkins, Octavia Spencer, Michael Shannon Noah Baumbach"s incisive and compassionate look at a marriage breaking up and a family staying together. Noah Baumbach Adam Driver, Scarlett Johansson, Julia Greer History Hal, wayward prince and heir to the English throne, is crowned King Henry V after his tyrannical father dies. Now the young king must navigate palace politics, the war his father left behind, and the emotional strings of his past life. David Michôd Tom Glynn-Carney, Gábor Czap, Tom Fisher A poor yet passionate young man falls in love with a rich young woman, giving her a sense of freedom, but they are soon separated because of their social differences. Nick Cassavetes Gena Rowlands, James Garner, Rachel McAdams A girl in a small town forms an unlikely bond with a recently-paralyzed man she"s taking care of. Thea Sharrock Emilia Clarke, Sam Claflin, Janet McTeer Edit Storyline 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 young man, 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 24-year-old American college graduate student working on his... Written by Sony Pictures Classics Plot Summary Plot Synopsis Taglines: Is it better to speak or die? Did You Know? Trivia Timothée Chalamet, in an interview with The Canadian Press news agency, said that director Luca Guadagnino was tempted during production to buy the Italian villa where the film was shot--which was not too far from his apartment in a nearby town. Chalamet said a group of others on the production talked him out of the purchase. See more » Goofs When Elio and Oliver are at the car preparing to head off to Lake Garda with Sam, Elio has his right foot up on the open back door panel during their conversation. However, when the shot changes to Oliver"s point of view in the front seat, Elio clearly has his left foot up on the door frame. Then back outside and it"s right foot again. See more » Quotes Elio: Malfada? Mom? Yeah, it"s me. Yeah, everything"s fine, I"m at the station in Clusone. Listen, Mom, can you... [ voice breaking] Can you come get me, mom? See more » Crazy Credits Although the movie has a full opening credits sequence, the title of the film is not shown on screen until the end credits begin. See more » Soundtracks Zion hört die Wächter singen (from the cantata BWV 140 "Wachet auf, ruft uns die Stimme") Written by Johann Sebastian Bach Arranged and transcribed by Wilhelm Kempff Performed by Alessio Bax Published by Boosey & Hawkes Courtesy of Signum Records See more » Details Release Date: 19 January 2018 (USA) Also Known As: Call Me by Your Name Box Office Budget: EUR4, 000, 000 (estimated) Opening Weekend USA: $412, 932, 26 November 2017 Cumulative Worldwide Gross: $41, 887, 595 See more on IMDbPro » Company Credits Technical Specs See full technical specs ».

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Call me by your name online. Call me by your name explained. Call Me by Your named. Call me by your name timothee chalamet. How to watch Call Me by Your Name FULL Movie Online Free. Call me by your name music. Call me by your name piano. The new film by Luca Guadagnino, “Call Me by Your Name, ” begins in the summer of 1983, in a place so enchanted, with its bright green gardens, that it belongs in a fairy tale. The location, the opening credits tell us, is “Somewhere in Northern Italy. ” Such vagueness is deliberate: the point of a paradise is that it could exist anywhere but that, once you reach the place, it brims with details so precise in their intensity that you never forget them. Thus it is that a young American named Oliver (Armie Hammer) arrives, dopey with jet lag, at the house of Professor Perlman (Michael Stuhlbarg) and his Italian wife, Annella (Amira Casar), whose custom is to spend their summers there and also to return for Hanukkah. (Like them, Oliver is Jewish; a closeup shows a Star of David hanging from a chain around his neck. ) The Professor, an American expert in classical archeology, requires an annual assistant, and Oliver is this year’s choice. “We’ll have to put up with him for six long weeks, ” Annella says, with a sigh. Not long enough, as it turns out. You can pack a whole lifetime into six weeks. The first words of the film are “The usurper. ” They are uttered by the Perlmans’ only child—their son, Elio (Timothée Chalamet), who is seventeen. He stands at an upstairs window with his friend Marzia (Esther Garrel) and watches Oliver below, fearful that the American may break the reigning peace. The Professor is more welcoming, and he proposes a kind of free trade, both spatial and emotional, that will resound throughout. “Our home is your home, ” he says to Oliver. “My room is your room, ” Elio adds, a few seconds later, like an echo. He has moved into the adjoining room for the duration of Oliver’s stay, and they must share a bathroom. The sharing will deepen, from handshakes to confidences, and from cigarettes to kisses and other mouthly charms, concluding in the most profound exchange of all, whispered from a few inches’ distance and proclaimed in the title of the movie. “Call Me by Your Name” is, among other things, an exercise in polyglottery, and Elio chats to his parents and friends in an easy blend of English, French, and Italian, sometimes sliding between tongues in the course of a single conversation. (Who would guess that a household, no less than a city, can be a melting pot? ) His father and Oliver enjoy a clash of wits about the twisted root of the word “apricot, ” tracing it through Arabic, Latin, and Greek, and mentioning that one branch leads to the word “precocious”—a nod to Elio, who listens to them with half a smile. He is a prodigy, voraciously bookish, who plays Bach al fresco on the guitar and then inside on the piano, in the manner of Liszt and of Busoni, with Oliver standing in the background, contrapposto, with the elegant tilt of a statue, drinking in the sound and the skill. “Is there anything you don’t know? ” he asks, after Elio has told him about an obscure, bloody battle of the First World War. Prodigies can be a pain, onscreen and off, and Elio—fevered with boyish uncertainties and thrills, though no longer a boy, and already rich in adult accomplishments, yet barely a man—should be an impossible role. Somehow, as if by magic, Chalamet makes it work, and you can’t imagine how the film could breathe without him. His expression is sharp and inquisitive, but cream-pale and woundable, too, and saved from solemnity by the grace of good humor; when Oliver says that he has to take care of some business, Elio retorts by impersonating him to his face. Chalamet is quite something, but Hammer is a match for him, as he needs to be, if the characters’ passions are to be believed. Elio is taken aback, at the start, by Oliver’s swagger—the hesitant youth, steeped in Europe, confronted with can-do American chops. Hammer doesn’t strut, but his every action, be it dismounting a bicycle, draining a glass of juice (apricot, of course), slinging a backpack over his shoulder, rolling sideways into a pool, or demolishing a boiled egg at breakfast until it’s a welter of spilled yolk suggests a person almost aggressively at home in his own body, and thus in the larger world. Hence the abrupt note that he sends to Elio: “Grow up. See you at midnight. ” You could, I suppose, regard Oliver as the incarnation of soft power. Certainly, his handsomeness is so extreme that the camera tends to be angled up at him, as if at one of the ancient bronze deities over which the Professor enthuses. When Oliver wades in a cold stream one glorious day, you stare at him and think, My God, he is a god. And yet, as he and Elio lounge on sun-warmed grass, it’s Oliver who seems unmanned, and it’s Elio who lays a purposeful hand directly on Oliver’s crotch. Now one, now the other appears the more carnally confident of the two. They take a while to find parity and poise, but, once they do, they are inextricable, rendered equal by ardor; the first shot of them, at dawn, after they sleep together, is of limbs so entangled that we can’t tell whose are whose. As for their parting, it is wordless. They look at one another and just nod, as if to say, Yes, that was right. That was how it is meant to be. The screenplay of “Call Me by Your Name, ” adapted from André Aciman’s novel of the same title, is by James Ivory. He has done a remarkable job, paring away pasts and futures, and leaving us with an overwhelming surge of now. On the page, events are recounted, in the first person, by an older Elio, gazing backward, but Chalamet’s Elio lacks the gift of hindsight. In any case, why is it a gift? Who wouldn’t prefer to be in the thick of love? The book is a mature and thoughtful vintage; in the film, we’re still picking the grapes. It’s tempting to speculate how Ivory, who, as the director of “ A Room with a View ” (1985) and of “ Maurice ” (1987), showed his mastery of Italian settings and of same-sex romance, might have fared at the helm of the new film. The rhythm, I suspect, would have been more languorous, as if the weather had seeped into people’s lazy bones, whereas Guadagnino, an instinctive modernist, is more incisive. He and his longtime editor, Walter Fasano, keep cutting short the transports of delight; the lovers pedal away from us, on bikes, to the lovely strains of Ravel’s “Mother Goose Suite, ” only for the scene to hit the brakes. “Call Me by Your Name” is suffused with heat, and piled high with fine food, but it isn’t a nice movie; you see it not to unwind but to be wound up—to be unrelaxed by the force with which rapture strikes. There is even a gratifying cameo by a peach, which proves useful in an erotic emergency, and merits an Academy Award for Best Supporting Fruit.

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