‘Call Me By Your Name’: A tender evocation of young love and developing sexuality - Review

(Piece for University of Warwick's, The Boar. 8th Dec 2017)

★★★★★

Based on the eponymous 2007 novel by author André Aciman, Call Me by Your Name beautifully depicts the brief but fervent romance between two young men whilst exploring issues of sexuality, adolescence, and heartbreak.

Set against the backdrop of the Italian countryside in 1983, seventeen-year-old Elio (Timothée Chalamet) is spending his summer with his parents in their tranquil villa, reading books, transcribing music, swimming in the lake, and waiting for summer to be over. The languid teenager drifts through his holidays alone, sometimes socialising with friends or his affectionate parents, but primarily keeping to his own devices. That is until his indifference is interrupted by the arrival of Oliver (Armie Hammer), a handsome American student who is set to study under the wing of Elio’s professor father for the next six weeks. Oliver, an exuberant, brash vision of rugged masculinity is frustratingly enigmatic to the introspective Elio. He’s unapologetically bold in every physical manner yet impossible to read. The film is generous in allowing the relationship between its two protagonists to develop; imbued with lingering stares, subtle touches, and an overwhelming sense of first-love nervousness. It is not until around the film’s midpoint that the lovers finally kiss. Amid the sun-drenched lazy days in the Italian countryside, the two young men slowly enter a vibrant love affair, giving Elio a chance to explore his developing bisexuality and Oliver to safely submit to his.

Director, Luca Guadagnino, is known for his scintillating aesthetics, providing an undoubtable rawness and life to his films, and Call Me by Your Name is no exception. An encapsulating display of tender emotions and first heartbreak, the film is imbued with a warmth which evokes the hazy feeling of being in love. The film caresses you with brilliant visuals, swirling colour and light; the saturated tones of orange, reds, and luscious greenery vibrantly paints an image of a beautiful Italian summer. Call Me by Your Name’s visuals are expertly interwoven and synchronised with its sound. Not only does music play a vital role in the characterisation of Elio but it also serves to accompany the sentiment of the film, aided wonderfully by the Sufjan Stevens penned tracks that accompany some of the film’s most poignant scenes. After hearing ‘Visions of Gideon’ for the first time, you will never be able to listen to it again without it bringing a tear to your eye.

But the film’s obvious beauty is not for nothing, there is meaning to be found in absolutely every shot and sound in Call Me by Your Name. Guadagnino once stated to the New York Times that he: “hated the concept of beauty for the sake of it. It is overrated.” This is primarily evident in the presentation of the human body; more intimate scenes depicted the sensuous immediacy of the physical form. The film has no reservations about reflecting the realness of the human body. The characters are constantly and visibly sweating, no human function is shied away from — every hitched breath is heard, every kiss is deeply intimate. These are carnal specimens with provocative beauty akin to that of the classical statues of which Oliver studies. The actors’ closeness is tangible, every encounter of flesh is documented (if sometimes implicitly) – even small caresses of the face and hands or the playing of feet- and every meal seems tangible and inviting. The images just seem intimately real, as if you yourself could just reach out and grab an apricot or a peach to enjoy with the characters.

You truly feel this movie; every kiss, every taste, every delicate touch, every warm ray of Italian sunshine. It’s simply intoxicating, leaving you yearning for a summer of love, much like Elio.

FEMME

This outfit combines three of my favourite things at the moment; berets, graphic tees and suit pieces. These incredible trousers were kindly given to me by my mother, who wore them in the 90s. They're perhaps the most flattering clothing item I own with their SUPER high waist. Plus, they are so comfy- so much danceability in these babies. 

 I'm forever buying Gucci dupes until I can afford the real thing and this tee from Missy Empire is certainly keeping me going until then. I have a few Gucci-alikes but I think this is my fave by far; it has the signature red and green stripes and features two interlocking rings. I got this in a massive size as I like a baggier fit, plus its great for tucking in or going for that oversized look with a pair of jeans. 

Beret: H&M

Tee: Missy Empire

Trousers: Vintage

Bag: Accessorize (old)

Boots: Zara

Earrings: Mango

Coven

I got into the spirit of Halloween for this look and took inspiration from the third season of American Horror Story, Coven. I love an all black outfit, especially one with some witchy vibes going on. Plus I am here for any excuse to break out the wide brimmed fedora. 

I'm a sucker for a good high waisted and crop top combo and these two pieces have certainly done me well this summer but I don't have the heart to leave them behind as the seasons change. I think incorporating some chunky knits and some good layering will help me to continue styling these Nobody's Child pieces way into the new year.

Hat: Zara

Top: Nobody's Child

Culottes: Nobody's Child

Shoes: Zara

Winter Frills

Winter is definitely arriving in the midlands and I can finally bring out the millions of jumpers that I packed with me from home. As much as I like the sun, I'm a cold weather gal at heart and I love a good winter coat and scarf combo.

I shot this look just before I moved back to uni, knowing that I would need some sort of winter-dressing-inspo for when the cold weather rolled around. I've been loving playing with layers at the moment as I've got some pieces recently that I don't want to be hiding under a big coat just yet. 

This pearl-embroidered jumper from Zara is such a great piece. It's quite baggy in shape so it's great for tucking in to high waisted jeans or for synching in at the waist with a belt, like I've done here. It's also not too thick so it's perfect for pairing with a turtle neck underneath. I went for one of my favourites with the frilly sleeves.

Hat: Asos

Turtle Neck: Asos

Jumper: Zara

Culottes: Urban Outfitters

Bag: Oasis

Earrings: Mango

Boots: Zara

Sunglasses: H&M

‘Mother!’: Bold, horrific and utterly brilliant - Review

(Piece for University of Warwick's, The Boar. 3rd October 2017)

★★★★

Darren Aronofsky’s much anticipated new psychological thriller, Mother!, has certainly been met with a whirlwind of controversy. Tearing film critics and audiences alike apart, the film has attracted reviews that have simultaneously called it one of the best and worst films ever made. But is it really as insane (and brilliant) as everyone is saying?

Depicting a story of love, devotion and sacrifice, Mother! is rife with allegorical imagery that is set to have you discussing it for hours after viewing. Starring Jennifer Lawrence, simply characterised in the film as ‘Mother’, the film presents itself as a tale of domestic bliss with Lawrence’s character desperately and delicately restoring a house, which was once her husband’s family home, before a fire destroyed it. She is married to the much older character, ‘Him’, played by Javier Bardem, a poet tortured by an intense bout of writer’s block which forms cracks in the foundation of their marriage and soon, their home.

It is after the arrival of Ed Harris’s character, ‘Man’, and shortly afterwards, his wife (Michelle Pfeiffer), that the once tranquil house turns into a site of chaos. Aronofsky’s Mother! is an assault on the senses, beginning quietly with just an underlying feeling of unease before it builds up to its crescendo of mania and horror. The last thirty minutes of the film will have you reeling and writhing in your seat, at once covering your eyes to prevent yourself from seeing the terrifying events before you, whilst simultaneously paralysed with curiosity. It’s like a car crash; you just can’t look away.

In the lead up to the film’s release, the marketing made extensive efforts to keep as much ambiguity as possible surrounding the plot. The film’s first theatrical poster saw an angelic illustration of Lawrence, the devoted wife, holding out her own heart that she had seemingly ripped from her chest, hauntingly smiling with pleading eyes. Bardem’s poster was equally enigmatic and saw him surrounded by fire.

Anyone hoping for more of an explanation concerning the nature of the film were hard done by when the first trailer rolled around. It was an intense succession of noises and visuals; screaming, shouting, the sound of destruction overlaid with a ghostly Lawrence as she paces around the house. It was a film that garnered an incredible amount of attention and intense debate before it had even been released. Critics, the press and audiences demanded answers, constantly speculating, the human lust for knowledge being challenged by Aronofsky who remained smugly tight-lipped.

It’s that inherent self-righteousness that humans possess which is at the forefront of Mother!. A film about the destructiveness of human nature and our ability to harm something so kindly gifted to us in the first place. An astounding reflection on the treatment of the earth depicted almost simplistically through a domestic setting.

In my opinion, Darren Aronofsky’s film is utterly brilliant. That isn’t to say that Mother! did not have a tendency to become too obvious in its use of allegory, because it did. The use of symbolism to represent Biblical interpretations and environmental issues was undoubtable clever, however they soon became predictable and, after a while, handed the deeper readings to you on a plate. At points, it felt self-indulgent in its cleverness and insanity to the point that it became slightly cliché and try-hard; further self-indulgence stemmed from the fact that you could literally place Aronofsky in Bardem’s place to create a story about the struggles of art.

Regardless, I cannot remember the last time I came out of the cinema so affected by a film I had just seen. I was left both speechless and desperate for discussion all at once – a definite sign of a good film.