Let us Anticipate "Call Me By Your Name"

Anyway, my point was that I don't think the release was particularly fucked up for CMBYN and I think it did as well as it probably could've ever been expected to do, financially.

haha holy shit Inherent Vice only made 9 mil??

xp maybe enthusiasm for it just calmed down naturally. I think there's much more of a case to be made for a studio fuck-up re: The Florida Project, which like I said, seemed like an obvious Oscar movie back in October.

Nah, I had that one pegged to be a one-nomination wonder the moment I saw it.

(More a comment on the average Oscar voter, not the movie's worth.)

I wasn't crazy about it either but Dafoe's performance & the topical subject matter seemed like a safe bet.

but yeah i see what you mean

couple that with my powerful voodoo spells counteracting the film's commercial prospects

Alfred fucked up Florida Project

that was MY Florida Project.

your contest project

https://www.omaze.com/experiences/call-me-by-your-name-oscars-party

watched this last night. knew i'd be a sucker for the story but i thought the movie was best in its silence moments. some of the interactions between the two were a little stiff i thought, and i didn't think either really sold their character's reluctance well. there was a lot of subtle stuff i enjoyed tho... it was a well made and thoughtful movie, more gay than i expected in some regards but also a little too conservative. i don't begrudge all the praise but i get why it's hit a bit of a ceiling come awards season.

Was Elio ever reluctant? The only moment he is happens when he finally gets what he wants.

the way the conclusion of the peach scene, at least for a second. but it was really more of armie's job and he wasn't great at it.

it was 1983, some things were a little more conservative.

how did gay men eat cum-filled peaches in 1983

very carefully

bae: come over

me: cant pontificating on etymology

bae: microgenerational advances in libidinal liberties occur when fervent youths buttressed by loving parents within a progressive society pursue overt actualization of once-furtive acts, paving paths for exponential gains

me: pic.twitter.com/azrHNCtAyB

— Eric Allen Hatch (@ericallenhatch) February 15, 2018

I thought for a second fgti might've written this comment on a CMBYN puff piece:

https://www.theguardian.com/film/filmblog/2018/feb/20/call-me-by-your-name-2018-best-picture-oscar-should-win-luca-guadagnino-timothee-chalamet#comment-112482443

"It didn’t feel edgy enough, so when Cera and Hammer come back together it’s for long sequences of violent sado-masochistic sex. Like something properly European."

Somebody posted this on FB: "this was my take: Not interested in the overplayed narrative of the younger boy and the older experienced man. Gag! The ever present affluent white euro gay experience. Double gag! Or the ends up with a woman trope! How scandalous!! And for anybody praising this yr in luck because there's at least 50 years of gay cinema that already covers all of these blatant cliches. This type of movie exists for 2 reasons. To make straight people feel cultured and to make gay people feel terrible"

Nice

that's a fairly commonplace, clichéd conclusion, actually.

Gays are fairly commonplace and cliched

https://goo.gl/images/HNBc7C

http://www.mynewplaidpants.com/2018/02/dial-nine-one-one.html

i'll just leave this here

To be sure, the father’s speech deserves unpacking; it’s an artful, stylized speech with formal language (“I am not such a parent,” Samuel Perlman tells his son, noting that most parents would have at best discouraged Elio from engaging in his relationship with Oliver). But the majority of gay viewers I’ve spoken with about this speech have found it intensely moving – and I think this response has to do with the speech’s novelty. It’s at heart a fantasy of what a queer person would be able to count on experiencing if the world were consistently just – if gay experience was no less affirmed and sanctioned than heterosexual experience, if queer people were free to pursue their desires without fear. My own working-class, immigrant, mixed-race parents certainly would never have given me such a benediction at that age, and in this I’m far from alone.

What High Queer Theory, which (D.A.) Miller emblematizes, specializes in is a critique of liberalism as pernicious, the fanged menace beneath the smiling surface of middle-class politesse and “tolerance.” Foucault taught us only too well to see in the seeming benedictions of normalizing society a crushing program of control. Though a Freudian, I have a lot of sympathy for this Foucauldian outlook – at times. The problem is that Foucault as a centrally defining guide is a catastrophe for gay and queer subjects, despite the hype. Foucault’s work, as Graham Robb has shown, has denied, or has been used to deny, gay/queer history. Miller’s essay, with an almost admirable explicitness, expresses the defining logic of his version of queer theory, the strict separation of sex/uality from the emotional life.

http://filmint.nu/?p=23937

"emblematizes"

Phantom Thread had as-good-as a limited release in the Uk, it was crazy. It wasn't on at all afaict in big town multiplexes with 12-15 screens, barely on in city-based ones and vanished in a fortnight from the arthouse/indies even with all the buzz/hype.

A long-distance old friend -- straight liberal woman, about 50, with a queer daughter -- just saw the film and did an FB post linking to a Boston Globe op piece calling the relationship "abuse." I did one brief eyerolling post but won't push it further.

She lives, of course, in Portlandia. Save us from the lefty puritans.

I saw the last 40 minutes again last Saturday, whispering whenI saw Elio LORD SOTOSYN LORD SOTOSYN LORD SOTOSYN

I was sure this revive would be for

http://www.indiewire.com/2018/04/luca-guadagnino-suspiria-dakota-johnson-therapy-1201955909/

https://www.youtube.com/watch?v=YgOEg2Drs3w&

hey guys once again I'm six months late to a buzzworthy film!

this wasn't badly made or poorly acted or offensive or anything but I did find it fairly dull. the classical Greek sculpture backdrop seemed very DO U SEE and the general arc of their relationship made me wonder if the structure of escalating sexual tension > dramatic consummation > dissappointment/betrayal (also evident in Y Tu Mama Tambien and Brokeback Mountain and probably some others I can't recall right now) is turning into some kind of cliche'd template for gay love stories in these kind of "prestige" pictures.

Y Tu Mamá También is a gay love story?

in the sense that ppl seemed to get *really* wound up about the buildup to TWO GUYS KISSING ON-SCREEN yeah, it was treated as such imo

I didn't really like it either tbf

I admit I'm hard-pressed to think of a depiction of a gay couple in a nominally mainstream film that I find at all engaging. comedies and weirder stuff (Fassbinder's "Fox and Friends" etc), sure

Gay relationships do admittedly lend themselves to comedy and weirder stuff, tbh.

lol

now that I think about it, most dramas that focus on the minutiae of a hetero couple's relationship bore me too. maybe I just hate ppl lol. but there always has to be something *else* going on beyond "omg when are they going to have hot sex" to maintain my interest.

shakey have you come around on Fassbinder?

I have always been a fan of certain things of Fassbinder's! def not all of it, he can get p tiresome

ah gotcha. yeah I like Fassbinder but have only seen like 13 of his movies, like most of them a lot, but I don't hold any of them dear. except maybe The Merchant of Four Seasons. too brutal and hopeless. I was just reading this thread last night, some really great discussion about Fassbinder's work being "horizontal" - no underbelly, no success, everyone is equally fucked. Tarkovsky otoh I worship

I think 'escalating sexual tension > dramatic consummation > disappointment/betrayal' is a dramatic arc of most love stories, gay or straight

there has to be something after that though.....some kind of growth, understanding

that kind of story line never gets old for me

*storyline

Dan S otm, any love story that doesn't follow that structure is usually a comedy

and not a courtship of mine (retired)

my problem with this movie is that the first hour, before the dance around the memorial, could have been pared down to around 10 minutes. i get the structure of these and the first act doesn't need to be so drawn out.

yeah i remember finding this pretty but way too long. but i am also a straight.

any love story that doesn't follow that structure is usually a comedy

yeah I guess that's true. Last Tango in Paris fits, for ex. Not a story form for me, I guess.

yeah but wouldn't you fuck Timothee Chalamet, comedy or not?

maybe I'm just old but I'm past the point of getting any enjoyment out of films based on the relative attractiveness of the ppl onscreen

I guess it's happening.

The director has offered an update on his plans for the next chapter in Elio and Oliver's life. Speaking to Italian outlet Bad Taste (translation via The Playlist), Guadagnino revealed that the opening shot of the sequel will mirror the final shot of Call Me By Your Name, which ended with Elio crying while staring into a fireplace. This time, Guadagnino said, Elio will be crying while watching a movie instead:

"I’m asking myself if in the new chapter of the life of Elio, Oliver and the Perlman family we should let them pass by Crema or not… but I don’t think so. Let’s give a small scoop: the sequel (but I don’t like to call it a sequel, their story is a ‘cycle’) will take place in Paris. And it begins with Elio crying. With this light shining into his eyes… and we wonder: are we still where we left him (in front of the fireplace)? No: he’s crying because he’s watching the ending of one of the best movies of the eighties, Paul Vecchiali’s masterpiece ‘Once More'. Absolutely consistent with the character: Elio loves Paul Vecchiali’s cinema… that is melancholic like him."