Just a thought about how this film is in conversation with other queer narratives, and specifically a response to the (understandable) critique that Elio is privileged.

We see a few disparate details that don’t really go anywhere that I’ll list:

Oliver’s bruise.

The parents “Sunny and Cher” throwaway moment.

The camera tilting up to the Church’s cross.

The nose bleed.

The scene in the streets of the city, right as Oliver dances outside the car with the radio on.

None…

A stunning film about being wild. See it and then stop reading beyond here.

It does so many things to create this uncertain tension, from the start when the flashback's big moment happens without real warning (just some vague hints). So when Sylvie shows up, there's always a sense of possibility and danger, and the film never tips us off on how to feel. It's emotionally full, but never tells us how to feel.

There's no obvious emotional release valve,…

Excellent thriller. The first act is such an ass clencher, I was deeply pained. There are some amazing themes going through this, all of which the thrills, rather than distract.

First, the way “real violence” looks vs fake violence, and there are multiple levels to it throughout. It’s a through line that adds terror but also some humor. It’s funny to me that this film is gently teasing some giallo films with its first scene, unaware how deeply 90s…