Thinking about certain elements that —naturally — one can only reflect on after some time (and a second screening invite).

Really fascinated by several red herrings, moments in the film that are meant to raise alarm — the cut on Oliver’s side that looks suspiciously like a lesion (we are only a few years away from AIDS, after all), Elio’s nosebleeds, a bus driving near the edge of a cliff — only for us to be sternly told that “this isn’t that movie.” Call Me By Your Name is not that queer narrative. It’s a love story, and sometimes people fall off bikes and get nose bleeds. That’s that.

Also thinking more about the conversation between Elio and his father and why it’s so affecting. Beyond the magical words Stuhlbarg delivers it truly is the scene itself. It offers catharsis to all of us gays who are not accustomed to seeing what plays out here. We don’t see fathers like this. We don’t see moments between fathers and gay sons like this. We need more if it. It’s just one of many reasons why Call Me By Your Name is so groundbreaking and masterful!