Oscar History

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Entries in Luca Guadagnino (18)


Soundtracking: "Call Me By Your Name"

by Chris Feil

Luca Guadagnino has become one of our top cinematic sensualists, making films built to be felt in the mind, body, and soul. Music is one of the key tools in his arsenal, particularly for how he uses rock music in ways that feel unburdened by music video tactics. Call Me By Your Name is no exception, with both classical and more electronic music highlighting the internal struggle of its protagonist Elio.

The film begins with a John Adams composition, projecting a similar personality to what Elio thinks is expected of him...

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Call Me With Kindness

by Jason Adams

Call Me By Your Name is turning out to be the sort of success none of us saw coming sixteen months ago when it was first announced that the director of I Am Love was tackling a little gay love story. It just broke the 2017 record for per theater average over the weekend, and its reviews have been unanimously stellar. It won Best Feature at the Gothams Monday night, it topped the Independent Spirit nominations, and it’s expected to stick around racking up such prizes all awards season long.

And yet there’s been one complaint that’s nagged at the movie from a determined bunch of folks (including the film’s own writer, legend James Ivory) since it first screened at Sundance in January – a supposed shyness about nudity and gay sex. Ivory told Variety it’s a “pity” there's no full-frontal nudity in the film, while The Guardian called the movie “coy” and Slate called it out for a “lack of explicit sex.” One shot in particular has rankled these folks the most – a seemingly old-fashioned pan out the window just as the characters finally approach their erotic consummation.

The film’s director Luca Guadagnino, who probably had to look up the word “coy” in the dictionary the first time it was lobbed at him for this, is nonplussed by the reaction – he told Vulture:

“It’s really something I don’t understand. It’s as if you said there are not enough shots of Shanghai. I don’t understand why there has to be Shanghai in this movie.”

I’m inclined to agree with him. Not only because I found the film sexy as hell, erotic in languorous, voyeuristic ways that movies don’t really approach anymore. Its sense of tactility, for sweat and fabric and skin, and its often-prurient stares – up the legs of swimming trunks, for example - are a welcome shock to the system that makes the forbidden seem commonplace, easy...

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Beauty vs Beast: Lady (Bird) You Are Doing Just Fine

Jason from MNPP here, fresh off of standing five feet away from Greta Gerwig and Noah Baumbach just hanging out at MoMA yesterday (Baumbach had actually just done a Q&A for The Meyerowitz Stories, so "hanging out" might be a stretch I suppose) to take us yonder Sacramento way. I think it's time for Lady Bird to get the "Beauty vs Beast" treatment, you guys.

The film has a perfect score at Rotten Tomatoes and it just crossed 10 million bucks at the box office, which is about what it cost to make. So it's all profit from here on out for Greta & Co, and all signs points towards plenty. It's in around 800 theaters and doing terrific - I can see it playing well all holiday-season. Hooray for good things doing good! Now let's pit the film's complicated mother/daughter core (and eventual Oscar nominees) against one another.

PREVIOUSLY You guys surprised me! When I wrote last week beside our Bigger Splash poll that I figured I knew who you'd vote for I really thought you'd go for Ralph Fiennes. I suppose in retrospect it was silly to underestimate the pull of Matthias Schoenaerts in very small shorts, which drew almost 70% of your vote. Explained Dancin' Dan:

"Yes, Harry is more fun and more interesting than Paul (and Fiennes gives by far the better performance), but he's also INFINITELY more exhausting. I don't think I could stand to be around him more than a few hours. So I'm gonna have to vote for Paul, and the less clothes he wears, the better."


Beauty vs Beast: The Bigger Boys

Jason from MNPP here, ready to pop some peach champagne for the release of Luca Guadagnino's Call Me By Your Name, which finally hits theaters in New York and LA on Friday. The thing is, although I personally have already seen the film six times (if you've been to MNPP at any point in the past three months you're more than aware of my obsession but if you missed my first take on the movie out of NYFF it's one of the most meaningful pieces of writing I've ever done, says me), it seems that some of you have not seen the film six times yet. Since it's not in theaters yet, and all. So I probably can't devote this week's "Beauty vs Beast" to it then!

So we'll do the next best and look back at Luca's last movie, A Bigger Splash. When ABS came out we polled you about the film it's based on, La Piscine, but I figure enough of you have seen Luca's version by now. I'm pretty certain where you guys will fall when forced into Tilda Swinton's glamourous shoes to choose between the two men in her life, solid wall of Paul (Matthias Schoenaerts) and bearded blast of noise Harry (Ralph Fiennes), but I'm asking anyway...

PREVIOUSLY Oscar season is here but we devoted one last moment of silliness to Superhero Season by tackling Thor: Ragnarok's two actresses last week - Tessa Thomspon put up a valiant fight but... well, she was going against Cate Blanchett. Cate took 58% of your vote as bigger-than-Asgard-itself Hela; said chasm301:

"Do you really think that Cate Blanchett would lose a competition on this website? Her most gif-able performance outside of Carol (2015)"


"I'm Armie"

our ongoing adventures at TIFF 2017

Timothee Chalamet, Armie Hammer, and Luca Guadagnino at the after party for CALL ME BY YOUR NAME

Armie Hammer is very tall (6'5" according to IMDb) but less intimidating than that heighth and his big screen beauty would suggest in real life. Let's set the scene.

It's the after party for the TIFF premiere of Call Me By Your Name  at a swank Toronto steakhouse called STK. I arrive slightly underdressed -- you can always spot the writers by their more casual attire than the stars/industry/scenesters -- and quickly down my "director's cut."...

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YNMS Quickie: Call Me By Your Name

The first trailer has arrived for Call Me By Your Name. I'm starting the book right now so pardon the brevity of this Yes No Maybe So. I'm sure you'll have more to add in the comments.

yes -Luca Guadagnino makes inarguably sensual movies. James Ivory (who did the screenplay) is an all time favorite. And gay romantic dramas getting the prestige treatment is very welcome.
no - How could it possibly live up to the hype?
maybe so - Will it be too lowkey? This lives or dies by the chemistry between the leads.


Poster for "Call Me by Your Name"

by Murtada

Call Me By Your Name, Luca Guadagnino's already wildly acclaimed gay romantic drama, was just announced for TIFF. It will probably play NYFF, too, on its way to a limited release on November 24, the sweet Thanksgiving spot for Oscar hopeful movies. And now the gorgeous poster for one of our most anticipated films of the year, has been revealed. See it in all its glory (plus more news about the film) after the jump...

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Soundtracking: "A Bigger Splash"

This week, Chris Feil's series on music in the movies sits poolside with last year's steamer...

Confession: Luca Guadagnino’s A Bigger Splash has been something of a minor addiction for yours truly in the year since its stateside release. And it’s key use of “Emotional Rescue” by The Rolling Stones has put that track into heavy nonstop rotation as well. I mean how can you not fall in immediately love with a film that casts Tilda Swinton as a rock star named Marianne Lane. It is sensory overload, all mouthwatering cuisine and eye contact between actor and camera. But not least of its horny senses is its rock and roll soundscape, subtly infused throughout to appealing effect.

In Splash, the lasting impact of great music is just like to great sex for its lingering spell. Its cues and references are scattered throughout, recalling the visages of Bowie and Patti Smith to make its musical world more realized. Even more fluidly, it crafts character identity and relationship as one with the music in ways as subtle as how its reveals their shiftiness.

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