Just remember, our hearts and our bodies are given to us only once. And before you know it, your heart is worn out, and, as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now, there’s sorrow, pain. Don’t kill it and with it the joy you’ve felt. In the summer of 1983 precocious piano prodigy, American-Jewish-Italian 17-year-old Elio Perlman (Timothée Chalamet) is spending the days with his archaeologist father (Michael Stuhlbarg) and translator mother (Amira Casar) at their 17th-century villa in Lombardy, Italy. Oliver (Armie Hammer) is a handsome American doctoral student who’s working as a research assistant for Elio’s father and living with them for the holiday to help him with his academic papers. Amid the sun-drenched splendour, while Elio pursues relationships with local girls, he and Oliver discover the heady beauty of awakening desire that will alter their lives… Adapted by the venerable filmmaker James Ivory from André Aciman’s 2007 debut novel, this is a uniquely atmospheric work by director Luca Guadagnino which attempts successfully to convey how people really think and feel about each other while consumed with desire. Most of the acting nominations were for Chalamet but Hammer is stunning in a role he was born to play. There are moments that take the breath away – shot choices that focus on his face, shifting lens length and emphasis and particularity to indicate his conflicted thoughts about instigating a relationship with a mere boy. We understand how his mind works. When the older gay couple visiting the Perlman home stand listening to Elio play an affecting piano piece, Hammer hovers very briefly in the background in the doorway and his effect on people is such that the younger of the men looks over his shoulder, as though the very plates had shifted beneath him, even with a passing glimpse of this astonishingly attractive guy. Such is Oliver’s power. His beauty is tactile. He eats up life with the same enthusiasm he gobbles food. He folds in his imposing height to avoid intimidating people. But his touching of Elio’s shoulder during a volleyball game signals his intentions. It’s such a physically demanding characterisation. He is wooing us all. The puppyish Elio has no hope. Hammer projects his position as lust object with immense sympathy. His introduction to the family involves Perlman’s customary intellectual test which he passes with flying colours in an audition that might telegraph social embarrassment but lends the drama its comic and humane undertow. It also skewers the viewer’s fear that this is a film about pretentious people: we soon realise these are instead people of passions. There is a coyness of course to the exposition of the sex – we see Elio having intercourse with his young girlfriend but we never witness the act between him and Oliver. Instead, when they finally achieve total freedom and intimacy away from the family home, in the mountains outside Bergamo, the correlative for this is a waterfall: it’s somehow overstated yet understated at the same time, perfect for young men going wild in the country, figuratively sharing an orgasm in public. The brief flashback sequence is done in tinted negative, another decent aesthetic choice. Mirrors are used sparingly to convey psychological turmoil and brief parental distance. And if T.S. Eliot encouraged you to dare eat a peach you might think twice before doing it after watching this: masturbation played ultimately for endearingly awkward laughs, more Philip Roth than American Pie. What a marvellously thoughtful and beautifully judged piece of cinema, one that lingers in the mind long after viewing for its grace and beauty and generosity and its remarkable sensuality. Richard Butler must be thrilled.