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Call Me by Your Name


Guest kian wee iec97

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Guest kian wee iec97

i don't think this will be shown here. so bad ... i love the chemistry between the two actors there .. natural and realistic ...

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Guest Sport-coholic
46 minutes ago, Guest kian wee iec97 said:

i don't think this will be shown here. so bad ... i love the chemistry between the two actors there .. natural and realistic ...

Still showing at The Projector lar.

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Guest Call Out

‘Call Me by Your Name’ is a dishonest, dangerous film

 

“Call Me by Your Name,” the new film by Luca Guadagnino, is a deftly directed, beautifully photographed, wonderfully acted master class in sexual predation and abuse.

 

The lush, dream-like movie chronicles a summer romance between 17-year-old Elio and his father’s hunky 24-year-old graduate assistant, Oliver. Although many reviewers touch on the problematic “age gap” between them, for the most part, they minimize those concerns and lavish praise on the movie. (“An erotic triumph,” says one; “a romantic marvel,” says another.)

 

But even the brief “age gap” caveats miss the point. “Call Me by Your Name” isn’t about an older man and a younger man. It falsely romanticizes an exploitative relationship between a grown man and a teenager. These manipulative relationships cause lasting damage, as I know from my own experience. 

 

As a 15-year-old scholarship student starting at Choate Rosemary Hall in 1989, I liked to think of myself as an autonomous adult. But like Elio, sprawling across his parents’ laps on a rainy afternoon, I was not.

 

That first year at Choate, I met Angus Mairs, my math teacher and dorm adviser. We all went to Mr. Mairs for math help, but somehow “math help” turned into personal discussions. Mr. Mairs pried and probed into my personal details until I revealed to him that a family member had sexually abused me throughout my childhood. Instead of making a prompt report to Child Welfare, Mr. Mairs used that information to pose as my protector and savior.

 

Over and over, he would ask me, “What are you thinking about?” It might seem like an innocent question, but it wasn’t. He wanted access to my most personal thoughts and feelings — and if I wanted his approval, I had to hand them over.

 

It was a gut punch to watch Oliver and Elio have nearly the same exchange. When Elio refuses to tell Oliver what he is thinking about because “it’s private,” Oliver withdraws his approval. “I guess I’ll go hang out with your mom,” he says, and walks away. 

 

When the school year was over, Mr. Mairs wrote me “love letters” and arranged to take me camping. We got lost and ended up in some general store in the middle of nowhere, him drinking a beer and me, now 16, sitting on his lap.

 

Later that night, I lost my virginity. When I crawled out of the tent the next morning, I looked at my legs and my arms. My skin, the moles on my legs, the hair on my arms, all looked the same, but somehow none of it felt like mine anymore. I told myself over and over that I was in complete control. That this was a choice that I was making. This was a story I held onto fiercely – even long after I had severed all ties with Mr. Mairs. 

 

In actuality, like Elio, I was a lonely teenager who desperately wanted approval. Also like Elio, an adult who should have been a role model instead took me as a lover.

 

In real life and in the movie, these shouldn’t be thought of as sexy coming-of-age romances, deliciously painful trysts from which both partners emerge better for having known each other. When an adult grooms a teenager, and engages her or him in a sexual relationship, it’s neither romantic nor consensual. It left me shattered. For years I lived with intense shame, believing I was a bad person.

 

In the movie’s last scene, Elio and his parents are together for Hanukkah. The phone rings and it’s Oliver. They clearly haven’t spoken in a long time. Oliver has big news. He is getting married. The film ends with Elio crying. Oliver has moved on. His life continues without consequence. But as experts on this type of abuse will tell you, Elio is at the very beginning of a long struggle with the misery and the challenges that survivors inevitably face. A real-life Elio would most likely suffer from depression and perhaps even become suicidal.

 

This film has the potential to cause real harm by normalizing this kind of sexual predation. It could be particularly damaging for LGBT youth, who are already at a high risk for depression and suicide.

 

So no, “Call Me by Your Name” isn’t a radical, brilliant piece of art. We need to call it by its name. That name is abuse.

 

Cheyenne Montgomery lives in Portland, Ore., where she teaches high school biology and zoology and works to address educator sexual misconduct. She is writing a memoir. 

 

https://www.bostonglobe.com/opinion/2018/01/25/call-your-name-dishonest-dangerous-film/I7urrCBxwZYrfPTT7eycdM/story.html

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Guest Just a simple indian guy

Love this movie.... could relate to some parts of the movie where Oliver tries to give a hint by massaging Elio’s shoulder....

 

makes me want to fall in love again...

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12 minutes ago, Guest Just a simple indian guy said:

Love this movie.... could relate to some parts of the movie where Oliver tries to give a hint by massaging Elio’s shoulder....

 

makes me want to fall in love again...

 

And also, Oliver's long, muscular legs in those shorts!  :twisted::D

 

 

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16 hours ago, Guest Call Out said:

‘Call Me by Your Name’ is a dishonest, dangerous film

 

“Call Me by Your Name,” the new film by Luca Guadagnino, is a deftly directed, beautifully photographed, wonderfully acted master class in sexual predation and abuse.

 

The lush, dream-like movie chronicles a summer romance between 17-year-old Elio and his father’s hunky 24-year-old graduate assistant, Oliver. Although many reviewers touch on the problematic “age gap” between them, for the most part, they minimize those concerns and lavish praise on the movie. (“An erotic triumph,” says one; “a romantic marvel,” says another.)

 

But even the brief “age gap” caveats miss the point. “Call Me by Your Name” isn’t about an older man and a younger man. It falsely romanticizes an exploitative relationship between a grown man and a teenager. These manipulative relationships cause lasting damage, as I know from my own experience. 

 

As a 15-year-old scholarship student starting at Choate Rosemary Hall in 1989, I liked to think of myself as an autonomous adult. But like Elio, sprawling across his parents’ laps on a rainy afternoon, I was not.

 

That first year at Choate, I met Angus Mairs, my math teacher and dorm adviser. We all went to Mr. Mairs for math help, but somehow “math help” turned into personal discussions. Mr. Mairs pried and probed into my personal details until I revealed to him that a family member had sexually abused me throughout my childhood. Instead of making a prompt report to Child Welfare, Mr. Mairs used that information to pose as my protector and savior.

 

Over and over, he would ask me, “What are you thinking about?” It might seem like an innocent question, but it wasn’t. He wanted access to my most personal thoughts and feelings — and if I wanted his approval, I had to hand them over.

 

It was a gut punch to watch Oliver and Elio have nearly the same exchange. When Elio refuses to tell Oliver what he is thinking about because “it’s private,” Oliver withdraws his approval. “I guess I’ll go hang out with your mom,” he says, and walks away. 

 

When the school year was over, Mr. Mairs wrote me “love letters” and arranged to take me camping. We got lost and ended up in some general store in the middle of nowhere, him drinking a beer and me, now 16, sitting on his lap.

 

Later that night, I lost my virginity. When I crawled out of the tent the next morning, I looked at my legs and my arms. My skin, the moles on my legs, the hair on my arms, all looked the same, but somehow none of it felt like mine anymore. I told myself over and over that I was in complete control. That this was a choice that I was making. This was a story I held onto fiercely – even long after I had severed all ties with Mr. Mairs. 

 

In actuality, like Elio, I was a lonely teenager who desperately wanted approval. Also like Elio, an adult who should have been a role model instead took me as a lover.

 

In real life and in the movie, these shouldn’t be thought of as sexy coming-of-age romances, deliciously painful trysts from which both partners emerge better for having known each other. When an adult grooms a teenager, and engages her or him in a sexual relationship, it’s neither romantic nor consensual. It left me shattered. For years I lived with intense shame, believing I was a bad person.

 

In the movie’s last scene, Elio and his parents are together for Hanukkah. The phone rings and it’s Oliver. They clearly haven’t spoken in a long time. Oliver has big news. He is getting married. The film ends with Elio crying. Oliver has moved on. His life continues without consequence. But as experts on this type of abuse will tell you, Elio is at the very beginning of a long struggle with the misery and the challenges that survivors inevitably face. A real-life Elio would most likely suffer from depression and perhaps even become suicidal.

 

This film has the potential to cause real harm by normalizing this kind of sexual predation. It could be particularly damaging for LGBT youth, who are already at a high risk for depression and suicide.

 

So no, “Call Me by Your Name” isn’t a radical, brilliant piece of art. We need to call it by its name. That name is abuse.

 

Cheyenne Montgomery lives in Portland, Ore., where she teaches high school biology and zoology and works to address educator sexual misconduct. She is writing a memoir. 

 

https://www.bostonglobe.com/opinion/2018/01/25/call-your-name-dishonest-dangerous-film/I7urrCBxwZYrfPTT7eycdM/story.html

 

THIS THIS THIS THIS THIS.

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17 hours ago, Guest Call Out said:

‘Call Me by Your Name’ is a dishonest, dangerous film

 

“Call Me by Your Name,” the new film by Luca Guadagnino, is a deftly directed, beautifully photographed, wonderfully acted master class in sexual predation and abuse.

 

The lush, dream-like movie chronicles a summer romance between 17-year-old Elio and his father’s hunky 24-year-old graduate assistant, Oliver. Although many reviewers touch on the problematic “age gap” between them, for the most part, they minimize those concerns and lavish praise on the movie. (“An erotic triumph,” says one; “a romantic marvel,” says another.)

 

But even the brief “age gap” caveats miss the point. “Call Me by Your Name” isn’t about an older man and a younger man. It falsely romanticizes an exploitative relationship between a grown man and a teenager. These manipulative relationships cause lasting damage, as I know from my own experience. 

 

As a 15-year-old scholarship student starting at Choate Rosemary Hall in 1989, I liked to think of myself as an autonomous adult. But like Elio, sprawling across his parents’ laps on a rainy afternoon, I was not.

 

That first year at Choate, I met Angus Mairs, my math teacher and dorm adviser. We all went to Mr. Mairs for math help, but somehow “math help” turned into personal discussions. Mr. Mairs pried and probed into my personal details until I revealed to him that a family member had sexually abused me throughout my childhood. Instead of making a prompt report to Child Welfare, Mr. Mairs used that information to pose as my protector and savior.

 

Over and over, he would ask me, “What are you thinking about?” It might seem like an innocent question, but it wasn’t. He wanted access to my most personal thoughts and feelings — and if I wanted his approval, I had to hand them over.

 

It was a gut punch to watch Oliver and Elio have nearly the same exchange. When Elio refuses to tell Oliver what he is thinking about because “it’s private,” Oliver withdraws his approval. “I guess I’ll go hang out with your mom,” he says, and walks away. 

 

When the school year was over, Mr. Mairs wrote me “love letters” and arranged to take me camping. We got lost and ended up in some general store in the middle of nowhere, him drinking a beer and me, now 16, sitting on his lap.

 

Later that night, I lost my virginity. When I crawled out of the tent the next morning, I looked at my legs and my arms. My skin, the moles on my legs, the hair on my arms, all looked the same, but somehow none of it felt like mine anymore. I told myself over and over that I was in complete control. That this was a choice that I was making. This was a story I held onto fiercely – even long after I had severed all ties with Mr. Mairs. 

 

In actuality, like Elio, I was a lonely teenager who desperately wanted approval. Also like Elio, an adult who should have been a role model instead took me as a lover.

 

In real life and in the movie, these shouldn’t be thought of as sexy coming-of-age romances, deliciously painful trysts from which both partners emerge better for having known each other. When an adult grooms a teenager, and engages her or him in a sexual relationship, it’s neither romantic nor consensual. It left me shattered. For years I lived with intense shame, believing I was a bad person.

 

In the movie’s last scene, Elio and his parents are together for Hanukkah. The phone rings and it’s Oliver. They clearly haven’t spoken in a long time. Oliver has big news. He is getting married. The film ends with Elio crying. Oliver has moved on. His life continues without consequence. But as experts on this type of abuse will tell you, Elio is at the very beginning of a long struggle with the misery and the challenges that survivors inevitably face. A real-life Elio would most likely suffer from depression and perhaps even become suicidal.

 

This film has the potential to cause real harm by normalizing this kind of sexual predation. It could be particularly damaging for LGBT youth, who are already at a high risk for depression and suicide.

 

So no, “Call Me by Your Name” isn’t a radical, brilliant piece of art. We need to call it by its name. That name is abuse.

 

Cheyenne Montgomery lives in Portland, Ore., where she teaches high school biology and zoology and works to address educator sexual misconduct. She is writing a memoir. 

 

https://www.bostonglobe.com/opinion/2018/01/25/call-your-name-dishonest-dangerous-film/I7urrCBxwZYrfPTT7eycdM/story.html

so not true about the predatory part!

 

it is a beautiful love story, the best money spent buying it from iTunes. I might just consider getting the blu ray and the soundtrack.

 

what a prune for posting this, and whoever the flying f*** boston globe writer for this misleading piece of crap.

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On 03/03/2018 at 9:59 PM, Guest Call Out said:

‘Call Me by Your Name’ is a dishonest, dangerous film

 

“Call Me by Your Name,” the new film by Luca Guadagnino, is a deftly directed, beautifully photographed, wonderfully acted master class in sexual predation and ....

 

https://www.bostonglobe.com/opinion/2018/01/25/call-your-name-dishonest-dangerous-film/I7urrCBxwZYrfPTT7eycdM/story.html

The above is the article used by WAAPD to demonise this film. 

From the same article, there is a comment which I think pretty much debunk the article. So far, a number of people who haven’t seen the film are condemning it. Go see it yourself. To me, it’s a beautifully crafted film, well directed, scripted, acted and filmed. 

 

Below is the comment I agree with: 

 

Call Me by Your Name' is neither dishonest nor dangerous. It is not a film about sexual abuse or predation, nor does it glorify sexual relationships between adults and teens. It simply depicts a particular relationship in which a 17 year old begins to emerge into his sexuality with an older partner, which is often the case with young men and women, gay and straight.

I am deeply sympathetic to Cheyenne Montgomery, the author of this piece, and am well-acquainted with her story - not only for having read about her experiences as a 15 year old survivor of family sexual abuse who was manipulated and exploited by two male teachers at Choate Rosemary Hall; but also as one who himself navigated a similar terrain at another New England prep schoool. Furthermore, I encountered many with similar histories of abuse in my long career in medicine. 

It is only natural that Ms. Montgomery sees something like her own story of sexual predation in CMBYN. The circumstances of the film and its characters, however, could hardly be more different. She was a 15 year old, a victim of family sexual abuse, away from home, who was manipulated by a dorm supervisor and a teacher who stood in loco parentis. They violated their mission and duty to protect young Cheyenne, instead exploiting their positions to take advantage of her. As she points out, she was a willing participant but cannot be said to have truly consented, since her partners were her teachers, were much older - a 12+ year age difference - and had carefully groomed her for exploitation. She is a survivor of rape.

In the film, though, Elio is not a prior victim of abuse - he is cradled in a loving family. Oliver is not his teacher, nor is he responsible for Elio's welfare. Elio is 17, significantly older than Ms. Montgomery was when one considers that steep slope of maturation at those ages, and for many young men and women 17-18 is the time of sexual initiation and enactment. For gay youth, it is often the first occasion when contact is made with any kind of gay culture - student organizations, pride, bars, or simply the attention of another - and those with whom contact is made are often older and more experienced. This is acknowledged and understood in many European cultures to a degree that eludes Americans generally, in my experience.

I'm surprised Ms. Montgomery, who is gay herself, is not more understanding of this fact of sexual awakening, or of the inevitable disparities in age, experience, and confidence that characterize some early encounters. It is clear, though, that she is projecting her own experience as a 15 year old abuse victime onto Elio. For example, she cites Oliver's questioning him about what he's thinking as an example of manipulation, just as it was in her own experience at the hands of teacher Angus Mair. The problem is, we all do that. Who hasn't asked his or her partner what they're thinking, trying to get into their heads and possibly stake a claim to their thoughts? My wife and I sometimes do that ourselves - it can be manipulative but isn't necessarily abusive. Ms. Montgomery equates it with 'grooming', something pedophiles do over time to erode resistance in their quarry, but Oliver isn't a pedophile. He and Elio circle each other as prospective lovers do, with advances, retreats, insecurities, and hints on both sides. 

Ms. Montgomery’s other point - that CMBYN ‘normalizes’ this kind of relationship - is demonstrably incorrect. In fact, it’s not unusual for sexual initiation, especially but not limited to gay youth, to involve an older, more experienced partner. It’s true of girls and true of boys, straight and gay. It does not appear to be the trajectory for a majority of sexual initiations, but is hardly so rare as to be considered abnormal. Ms. Montgomery, though a survivor, does not appear to be the kind of expert on sexual abuse she refers to. Her dire predictions for Elio after the heartbreak of his affair with Oliver - depression, suicidality - are no more likely than for any other teen after a breakup. 

‘Call Me by Your Name’ is wonderfully wrought: subtle, engrossing, and psychologically attuned to its unique characters and their divergent paths and contexts. It is more honest than most films dealing with teenage sexuality, in my view, and perhaps feels truly dangerous only to those who - unlike Elio - have been sexually assaulted.

 

 

After all, tomorrow is another day. ~ S O'Hara

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Guest Guest
On 03/03/2018 at 2:30 PM, CKW said:

 

There is a screening tomorrow, 4 Mar, at 7.40 pm, at Golden Mile Tower. Need to book the tickets online at:

 

http://theprojector.sg/filmsandevents/call-me-by-your-name/

 

 

Why show at Golden Mile? Must have many many DOM there like Pearl Center. Such a sleezy place. Best to avoid unless you like dirty old man.

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Guest not hiding

if I remember correctly , surprisingly it's even shown at Singapore Airlines...

 

Anyway, it's permitted by Censor Board, due to ending... I mean that call on Xmas to Elio .... Don't want to tell the ending.

Due to this I sort of disliked the movie....

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30 minutes ago, Guest Guest said:

Why show at Golden Mile? Must have many many DOM there like Pearl Center. Such a sleezy place. Best to avoid unless you like dirty old man.

Wah Lau eh, please do visit the place first before you post such nonsense here. 

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Guest not hiding
24 minutes ago, Guest Guest said:

Why show at Golden Mile? Must have many many DOM there like Pearl Center. Such a sleezy place. Best to avoid unless you like dirty old man.

Some people always have something to complain!

You sleazy dirty thinking old minded man have you ever been at The Projector cinema?????

No, I guess, but you still dare to give bad remarks!

Instead, you should be proud that there is such an Institution as The Projector in Singapore.

Yes admittedly facilities at The Projector might not be shiny Super Multiplex Imax 3D HD bla bla screening theatres. BUT: at least they show great movies.

You moron go ahead and watch boring American bullshit movies at the usual shiny posh cinemas...You should be happy that the gay themed movie is screened at all....

Why didn't the flashy hype posh movie chains didn't take up the movie???

When I was at the Projector screening "Call me by your name in Feb movie was sold out..."

 

And I got some last advice for you dirty sleazy thinking moron: you better make sure you sit in last row if you need to jerk off during that blow job scene at the movie!

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Guest not hiding again
35 minutes ago, Guest not hiding said:

if I remember correctly , surprisingly it's even shown at Singapore Airlines...

ooopsss probably at SQ 1 hour shorter

"the movie was edited to adjust to all audiences" ha ha

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Guest Guest
10 minutes ago, Guest not hiding said:

Some people always have something to complain!

You sleazy dirty thinking old minded man have you ever been at The Projector cinema?????

No, I guess, but you still dare to give bad remarks!

Instead, you should be proud that there is such an Institution as The Projector in Singapore.

Yes admittedly facilities at The Projector might not be shiny Super Multiplex Imax 3D HD bla bla screening theatres. BUT: at least they show great movies.

You moron go ahead and watch boring American bullshit movies at the usual shiny posh cinemas...You should be happy that the gay themed movie is screened at all....

Why didn't the flashy hype posh movie chains didn't take up the movie???

When I was at the Projector screening "Call me by your name in Feb movie was sold out..."

 

And I got some last advice for you dirty sleazy thinking moron: you better make sure you sit in last row if you need to jerk off during that blow job scene at the movie!

What projector? I know I am old but where got movie use projector now? Last time use projector now got? Last time I go yangtze watch movie, not good experience. Now ask me go golden mile? No thank you.

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13 hours ago, Guest not hiding again said:

ooopsss probably at SQ 1 hour shorter

"the movie was edited to adjust to all audiences" ha ha

 

 

You mean when they showed it on the SQ flight, they deleted the ending (the long-distance phone call scene)?

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It's a good, but not great movie. I liked the photography. The younger guy acted very well. The story is kind of cute: a teenager has a crush on an older guy. The age gap between the two seems to be bigger than seven years mentioned in the script. I thought that the older guy was about 15,years older than the younger guy. Anyhow, it's just like some popcorn teen romance movie, except it happened between two guys. 

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23 hours ago, Traveler3032 said:

It's a good, but not great movie. I liked the photography. The younger guy acted very well. The story is kind of cute: a teenager has a crush on an older guy. The age gap between the two seems to be bigger than seven years mentioned in the script. I thought that the older guy was about 15,years older than the younger guy. Anyhow, it's just like some popcorn teen romance movie, except it happened between two guys. 

 

Armie Hammer is 9 years older than Timothee Chalamet but I agree with you that their age gap seems more than that.

 

I think it's because Timothee looks young for his age (he was 21 during the show's filming but he could pass for a teenager), and Armie looks older than 30, which was his age when the show was produced.

 

In fact, if I didn't know, I would think Armie was about late 30s or early 40s when the show was filmed!  :D

 

Brody-Call-Me-By-Your-Name.jpg

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Guest not hiding
22 hours ago, CKW said:

 

 

You mean when they showed it on the SQ flight, they deleted the ending (the long-distance phone call scene)?

no they don't cut the end . not sure if they cut something. sometimes they even take out straight sex scenes... Eventually they removed some of the sex parts....

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Guest Big neneh

The world would come to complete union when the hot older man puts his hard cock into the twink's ass and fuck the daylights out of his eye socket.

 

The world will be complete and fulfilled when that happens.

 

Sometimes you need to make up the minds of undecided twinks.

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Guest InBangkok
On 3/3/2018 at 8:59 PM, Guest Call Out said:

‘“Call Me by Your Name” isn’t about an older man and a younger man. It falsely romanticizes an exploitative relationship between a grown man and a teenager. These manipulative relationships cause lasting damage, as I know from my own experience.

 

That Boston Globe "critique" is a load of nonsense! It is not a manipulative relationship between an older man and a younger man (tho not much younger). If there is anyone doing the manipulating it is Elio, the younger boy. Scene after scene shows him and his reactions to the Armie Hammer character. It's a lovely, lush, beautifully photographed movie with long, loving shots of the Italian countryside conveying the lustful heat of summer. My only reservation is the soliloquy by Elio's father near the end about the need to grasp moments of love. That struck me as just a bit over the top.

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1 hour ago, Guest Not for me said:

Look like vintage movie, actors not good looking at all.

 

That's the beauty and genius of the movie.

 

It's set in 1983, and they really made it seem like the movie was produced during that era, using screen filters, characters driving 80s cars and using old-fashioned telephones, wearing 80s-style clothing, etc.

 

Armie Hammer is quite hot-looking in the movie. Timothee Chalamet has that twinkish cuteness. Both actually not bad-looking.

 

CMBYN is not your typical gay romance movie, much less not a gay porn movie  :D  So you don't have two male leads who are extremely handsome, tall and buff, and who like to wear leather   :D

 

In fact, critics like it because it manages to convey the strong emotions between the two guys without relying on explicit sex scenes or the use of flirtacious and suggestive words. 

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On 05/03/2018 at 12:35 AM, Guest not hiding said:

if I remember correctly , surprisingly it's even shown at Singapore Airlines...

 

Anyway, it's permitted by Censor Board, due to ending... I mean that call on Xmas to Elio .... Don't want to tell the ending.

Due to this I sort of disliked the movie....

If you disliked the story because there was no happily ever after, then you’ve missed the point about it.

 

As for the Boston Globe critique, it’s true we should not normalise predation, but the character storyline showed an initial genuine holding back, plus Elio’s parents, though unusually liberal, were aware or at least suspected there was something going on. So it’s different from the predation of an isolated youth. So long as one comes out of the theatre still having a sense of outrage at grooming behaviour, one can still enjoy the storyline.

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3 hours ago, Guest Guest said:

If you disliked the story because there was no happily ever after, then you’ve missed the point about it.

 

Also, want to add that the ending scene in the movie (the long-distance phone call) deviates from the book.

 

Won't spoil it here but I feel that to fully understand and appreciate the movie, you need to read the book, because the book explains a lot of what is going on in Elio's mind during various scenes, whereas in the movie, there is no narrator so you have to figure out and/or guess quite a lot of things by yourself.

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Guest InBangkok
5 minutes ago, CKW said:

in the movie, there is no narrator so you have to figure out and/or guess quite a lot of things by yourself.

 

Isn't that the beauty of a movie and the craft of the actors and director? Often it is best not to spell everything out but to leave it to the audience to appreciate what they are seeing and come to their own understanding. That last incredibly long lingering shot tells you more about what is going on in that character's mind that any words could. Superb acting!

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Guest Sport-coholic
On 06/03/2018 at 1:05 PM, Guest not hiding said:

no they don't cut the end . not sure if they cut something. sometimes they even take out straight sex scenes... Eventually they removed some of the sex parts....

'Guadagnino was prepared for backlash about the lack of gay sex in the film. Speaking after a showing at the New York Film Festival earlier this year, he summed up his reason with characteristic flair. “To put our gaze upon their lovemaking would have been a sort of unkind intrusion,” the director said in Italian-accented English. “I think that their love is in all things, so when we gaze towards the window and we see the trees, there is a sense of witnessing that. I refuse with strong firmness that I was coy in not showing that, because I think that Oliver and Elio and Armie and Timothée, the four of them displayed a very strong intimacy and closeness in so many ways and it was enough.”'

http://www.indiewire.com/2017/12/call-me-by-your-name-sex-scene-luca-guadagnino-1201910219/

 

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On 3/6/2018 at 4:22 PM, borneoboy said:

dont fame me .. but God`s Own Country is not bad too...although it kinda remind me of Brokeback Mountain...

 

I much prefer God's Own Country over CMBYN.

Frankly I dun know what's the fuss over CMBYN.

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Guest YES YES
39 minutes ago, Vometra said:

 

I much prefer God's Own Country over CMBYN.

Frankly I dun know what's the fuss over CMBYN.


WAS ABOUT TO COMMENT THIS AND YOUR POST CAME LAST!
YES YES YES (sorry for the cap lock) But seriously God's Own Country is WAyyyY better than CMBYN.
I watched CMBYN first due to the hype but it was very underwhelming to me but ohmy,  God's Own Country gave me a whole new different level of emotion! It should deserve way better recognition than CMBYN IMO. 

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12 hours ago, Guest Guest said:

If you disliked the story because there was no happily ever after, then you’ve missed the point about it.

 

As for the Boston Globe critique, it’s true we should not normalise predation, but the character storyline showed an initial genuine holding back, plus Elio’s parents, though unusually liberal, were aware or at least suspected there was something going on. So it’s different from the predation of an isolated youth. So long as one comes out of the theatre still having a sense of outrage at grooming behaviour, one can still enjoy the storyline.

but you can see that sadness in Elio. It's the main reason that the film wasn't banned in Singapore because gays should not be displayed as happy or living happy normal lifes.

The call from Oliver was cruel. He should have not contacted Elio at all anymore....

The movie could have ended earlier or differently.

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On 3/5/2018 at 3:03 PM, CKW said:

You mean when they showed it on the SQ flight, they deleted the ending (the long-distance phone call scene)?

 

Watched it inflight on BA, and it was beautiful, poignant and brought back so many wistful memories of first love...

 

Time to boycott homophobic SQ!:yuk:

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2 hours ago, Cube3 said:

 

Watched it inflight on BA, and it was beautiful, poignant and brought back so many wistful memories of first love...

 

Time to boycott homophobic SQ!:yuk:

SQ didn’t, don’t anyhow say. I’m not a big fan of SQ in general, but cannot perpetrate fake news mah.

 

Back to topic, Timothee Chalamet is such a gifted actor. His performance was so nuanced, from the obvious parts like the ending fireplace scene to when Elio call his mom to fetch him, to the less dramatic parts such as his initial ambivalence towards Oliver.

 

The story is not so strikingly better than other coming of age dramas, but the cast’s performance (led by Chalamet) is excellent.

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thot it was a typical arthouse gay movie.

there are no frontal nudity scenes, so for those looking for gratuitous sex scenes, u will not get any here.

regardless of timothee's sexuality, he was dam good.

the last scene looked like he was going thro all sorts of emotions wo saying a word.

3 ╭∩╮ our of 5 

 

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Available for download Showbox app on Android. Not sure for ITunes.

 

Audio book sounds more interesting than the movie 

 

Edited by iamziz

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善待对人。麻烦用英文来表达信息。不是每个人都会看的懂中文 “People need to learn the art of making an argument. Often there is no

right or wrong. It's just your opinion vs someone else's opinion. How you deliver that opinion could make the difference between opening a mind,

changing an opinion or shutting the door. Sometimes folk just don't know when they've "argued" enough. Learn when to shut up."

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48 minutes ago, iamziz said:

Available for download Showbox app on Android. Not sure for ITunes.

 

Audio book sounds more interesting than the movie 

 

 

Yes, the book goes much deeper than the movie, and mentions a lot of details as well e.g. the Blue Billowy shirt, Apricock :twisted:, etc.

 

Also, the "peach scene" is a bit different in the book  :D

 

The book spans a longer time period than what was covered in the movie. 

Also, there were scenes in the book that the movie did not show, and vice versa.

 

Lastly, this audiobook is read by Armie "Oliver" Hammer!!!  :D

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On 08/03/2018 at 3:30 AM, Guest Guest said:

Back to topic, Timothee Chalamet is such a gifted actor. His performance was so nuanced, from the obvious parts like the ending fireplace scene to when Elio call his mom to fetch him, to the less dramatic parts such as his initial ambivalence towards Oliver.

 

The part where he tried to muffle his sobs when he was calling his mum from the train station . . . I wish I could enter the movie screen and just hug him . . . 

 

(from 2:33 onwards)

 

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3 hours ago, wantonmee said:

the last scene looked like he was going thro all sorts of emotions wo saying a word.

3 ╭∩╮ our of 5 

 

Yeah, man!! That scene was brilliant acting on the part of Timothee! You could see the floods of emotions sweeping over him just by looking at his face and eyes.

 

Actually, not sure if you know this already, but Timothee had a earpiece playing the song Visions of Gideon while he was filming that scene  :D


He said this during an interview.

 

 

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13 hours ago, CKW said:

 

The part where he tried to muffle his sobs when he was calling his mum from the train station . . . I wish I could enter the movie screen and just hug him . . . 

 

(from 2:33 onwards)

 

Some thoughts when I saw this part of the film:

 

1. The muffled sobbing of Elio in the car is an example of the excellent performance by Timothee Chalamet, of a young man on the cusp of adulthood, desperately needing a good cry but not wanting to bawl in front of his mum.

 

2. What a fuckin’ cool mum, ostensibly drawing on her cigarette like the nonchalant libertine intellectual she is supposed to be, but actually in a tense dilemma as to whether to give her pre-adult son emotional space or some coddling. Again, flawlessly played by Amira Casar.

 

3. Reminds me of being in NS and sending off ex-gf at the airport (str8 back then lah) for overseas study - there was no explicit talk of a break up but we both knew it was over. I went home tears streaking down my face, exactly like Elio.

 

4. Sufjan Steven is my new favourite recording artist.

 

5. My folks were great growing up, but why weren’t they the intellectual bohemians that would’ve been so cool.

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9 hours ago, Guest Guest said:

Some thoughts when I saw this part of the film:

 

1. The muffled sobbing of Elio in the car is an example of the excellent performance by Timothee Chalamet, of a young man on the cusp of adulthood, desperately needing a good cry but not wanting to bawl in front of his mum.

 

2. What a fuckin’ cool mum, ostensibly drawing on her cigarette like the nonchalant libertine intellectual she is supposed to be, but actually in a tense dilemma as to whether to give her pre-adult son emotional space or some coddling. Again, flawlessly played by Amira Casar.

 

I can imagine if it was my mum in the car:

 

"Aiyah, boy! You cry for what?! Oliver also not your boyfriend. Oh, alamak! Don't tell me . . . . " 

 :D

 

 

 

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1 hour ago, CKW said:

 

I can imagine if it was my mum in the car:

 

"Aiyah, boy! You cry for what?! Oliver also not your boyfriend. Oh, alamak! Don't tell me . . . . " 

 :D

 

 

 

Lol, exactly, the Asian parent, no matter how well educated they are, coddling is the first instinct!

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Sufjan Stevens was supposed to be the narrator (as the older Elio) but he felt the movie would be better without a narrator 

 

The book differs from the script in a few ways e.g. the storyline continues for another 20 years. Also, in the book, a young girl's character was fused together with the mother. The script also differs from the end-product of the move - maybe left on the cutting floor. The scene where Elio's mother picked him up from the train station and Elio cried in the car. In the script, the mother knew what happened and as she drove, she wiped Elio's tears away.

 

The director wanted the movie to feel like a memory so he hired the cinematographer (Arabian Nights 1). 

 

I find the editing patchy, maybe it's the feeling of a memory.

 

The movie seemed draggy but upon second viewing, I realised the actors were showing their intention without dialogue. E.g. in the swimming pool scene, Elio was looking at Oliver swimming but he didn't want Oliver to know that he's looking. The moment Oliver surfaced from the water, Elio quickly looked away and pretended to do some writing. When Oliver asked what Elio was thinking, Elio had a 'gotcha' smile before he replied to Oliver.

 

 

I like CMBYN very much but I'll watch God's Own Country soon, heard good reviews about it.

After all, tomorrow is another day. ~ S O'Hara

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9 minutes ago, glowingember said:

When Oliver asked what Elio was thinking, Elio had a 'gotcha' smile before he replied to Oliver.

 

 

 

I didn't notice it before!! Good one!!! :clap:

 

Elio must have been saying in his heart to Oliver: "I was actually thinking about you naked."  :twisted:

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There was another scene which I didn't understand until I read the book.

It's an early scene where Elio was pleasuring himself on bed and Oliver suddenly appeared and invited Elio to go swimming. Oliver held Elio's hand and looked at Elio but Elio resisted getting up. Oliver left to change and Elio flopped back to the bed frustratingly. 

In the book, Elio actually had a wet spot (pre-cum) on his shorts and Elio realised that Oliver saw it and he was embarrassed. 

After all, tomorrow is another day. ~ S O'Hara

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10 minutes ago, glowingember said:

There was another scene which I didn't understand until I read the book.

It's an early scene where Elio was pleasuring himself on bed and Oliver suddenly appeared and invited Elio to go swimming. Oliver held Elio's hand and looked at Elio but Elio resisted getting up. Oliver left to change and Elio flopped back to the bed frustratingly. 

In the book, Elio actually had a wet spot (pre-cum) on his shorts and Elio realised that Oliver saw it and he was embarrassed. 

I remember that scene. I thought he had a boner and wanted to hide it.

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