During Hanukkah, Oliver calls Elio's family to tell them he is engaged to be married to a woman he has been seeing for a few years. An upset Elio calls Oliver by his name and Oliver responds with his; Oliver also says that he remembers everything. After the call, Elio sits down by the fireplace and stares into the flames, tearfully reflecting, as his parents and staff prepare the holiday dinner.
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Guadagnino was tempted to remove the scene in which Elio masturbates into a pitted peach, finding it too explicit.[25][44] Chalamet was also nervous about the scene,[45] describing it as "a metamorphosis of some of the strongest ideas in the movie" and the key to illuminating the character's "overabundant sexual energy".[29][46] Both Guadagnino and Chalamet believed it was implausible to masturbate with a peach, but each independently tested the method. To their surprise, it worked, so Guadagnino shot the scene and ultimately included it in the film.[47] A scene featuring Elio and Oliver dancing enthusiastically to The Psychedelic Furs song "Love My Way" in a small bar is not drawn from the book. It was inspired by Jonathan Demme's Something Wild (1986), and Guadagnino's experience of dancing by himself when he was young.[25][48] Ivory altered Mr. Perlman's profession from a classics scholar to "an art historian/archeologist type",[29][42] a decision that Aciman described as "perfect" and "more visual, [...] more exciting, as opposed to what a scholar does at his desk".[42]
Guadagnino chose Amira Casar, whom he had known for twenty years, for the role of Elio's mother Annella.[38][61] In an interview with French magazine Télérama, Guadagnino expressed his admiration of Casar's "sense of transgression" and called her "the most audacious" in European art cinema.[c][38] Casting director Stella Savino met Vanda Capriolo when she was bicycling in the countryside. Capriolo, who was not an actor, was chosen to play Mafalda, the Perlmans' maid.[48][65] Aciman and Spears also appear briefly in cameo roles as Mounir and Isaac, an openly gay couple who attend a dinner party.[29][42] Aciman was asked to be in the movie after actors became unavailable. "It was a last-minute decision," Spears recalled, "André turns out to be a phenomenal actor! So comfortable, not nervous at all. His wife was sitting there and said, 'I had no idea!'"[66] In dialogue, the characters switch between English, French, Italian,[67] and in one scene Annella reads a German translation of 16th-century French literature.[68]
Reaction to the advertisement on social media was somewhat negative, largely because of Sony Pictures' misleading use of an image of Chalamet and Garrel instead of a focus on the protagonists' relationship.[151] Daniel Megarry of Gay Times described it as "an attempt to 'straight-wash' the movie's predominant same-sex romance".[152] Benjamin Lee of The Guardian called the ad a "disastrous attempt to push Oscar-buzzed Call Me by Your Name as a straight love story", and said the advert "belies an industry awkwardly denying queerness".[153] Sony Pictures Classics later aired several commercial spots to promote the film during its U.S.-wide expansion on January 19, 2018.[128] To promote the film in South Korea, Sony Pictures released several never-before-seen set photos and pastel promotional posters illustrated by Son Eunkyoung in March 2018.[154][155]
At its premiere at the Sundance Film Festival, Call Me by Your Name received a standing ovation.[192] When it screened at Alice Tully Hall as part of the New York Film Festival, it received a ten-minute ovation, the longest in the festival's history.[41][193] On review aggregator Rotten Tomatoes, the film has an approval rating of 94% based on 363 reviews, with an average rating of 8.7/10. The website's critical consensus reads, "Call Me by Your Name offers a melancholy, powerfully affecting portrait of first love, empathetically acted by Timothée Chalamet and Armie Hammer."[194] It was the best-reviewed limited release and the second-best-reviewed romance film of 2017 on the site.[195][196] On Metacritic, the film has an average weighted score of 93 out of 100, based on 53 critics, indicating "universal acclaim".[197] It was the year's fifth-best rated film on Metacritic.[198]
Writing for The Hollywood Reporter, Boyd van Hoeij described Call Me by Your Name as an "extremely sensual ... intimate and piercingly honest" adaptation of Aciman's novel and called Chalamet's performance "the true breakout of the film".[200] Peter Debruge of Variety believed the film "advances the canon of gay cinema" by portraying "a story of first love ... that transcends the same-sex dynamic of its central couple". He compared Guadagnino's "sensual" direction with the films of Pedro Almodóvar and François Ozon, and put Call Me by Your Name "on par with the best of their work".[116] David Ehrlich of IndieWire also praised Guadagnino's directing, which he said helped the film "match the artistry and empathy" of Carol (2015) and Moonlight (2016).[199] Sam Adams of the BBC wrote that Stuhlbarg's performance "puts a frame around the movie's painting and opens up avenues we may not have thought to explore", and called it "one of his finest" to date. He extolled the film as one of "many movies that have so successfully appealed to both the intellectual and the erotic since the heydays of Patrice Chéreau and André Téchiné".[201]
Ty Burr of The Boston Globe gave the film three-and-a-half stars, commended the director for "broaden[ing] his embrace of humanity while hitting new heights of cinematic bliss" and said that the film "may be a fantasy but it's one that's lovely and wise."[202] David Morgan of CBS praised the cinematography, production design and costuming for "making a summer in the 1980s palpably alive again." He found Stuhlbarg's character "the most forward-thinking parent in movie history".[203] Richard Lawson wrote that Guadagnino's adaptation "was made with real love, with good intentions, with a clarity of heart and purposeful, unpretentious intellect" and hailed it as a "modern gay classic" in his Vanity Fair review.[204] Chicago Tribune's Michael Phillips was pleased by the "wonderfully paradoxical" visual interests from the director and said Stevens's songs "work like magic on your sympathies regarding Elio's emotional awakening." He praised Hammer's performance as "some of the most easy-breathing and relaxed best work of his career."[205]
The Economist noted the tension "between pain and pleasure" in the film and praised Chalamet, saying that he "evokes so many shades of humanity, portraying a path of youthful self-discovery that is more raw, unhinged, and ultimately honest than many actors could manage".[206] Kate Taylor of The Globe and Mail, who gave the film two-and-a-half stars, also enjoyed Chalamet's effort in capturing "first love and its inevitable heartbreak" and said the "multilingual, almost-pre-AIDS idyll does not stretch credulity ... but it can try the patience".[207] Ken Eisner of The Georgia Straight said that "Guadagnino's lyrical excesses ... can alternate wildly between the poetically incisive and the indulgently preposterous."[208] In a negative review, Kyle Turner of Paste wrote, "The details of the film are too small for anyone, perhaps particularly a queer person, to see," a visual distance that "suggests that the film, in the beginning, is as terrified as Elio initially is. It never gets over that hesitation."[209] Armond White of Out called the movie "craven commercialism" and a "super-bourgeois fantasy" that "exploit[s] the queer audience's romantic needs by packaging them and falsifying them."[210]
86. I sometimes wonder why, in light of this, it took so long for the Church unequivocally to condemn slavery and various forms of violence. Today, with our developed spirituality and theology, we have no excuses. Still, there are those who appear to feel encouraged or at least permitted by their faith to support varieties of narrow and violent nationalism, xenophobia and contempt, and even the mistreatment of those who are different. Faith, and the humanism it inspires, must maintain a critical sense in the face of these tendencies, and prompt an immediate response whenever they rear their head. For this reason, it is important that catechesis and preaching speak more directly and clearly about the social meaning of existence, the fraternal dimension of spirituality, our conviction of the inalienable dignity of each person, and our reasons for loving and accepting all our brothers and sisters.
97. Some peripheries are close to us, in city centres or within our families. Hence there is an aspect of universal openness in love that is existential rather than geographical. It has to do with our daily efforts to expand our circle of friends, to reach those who, even though they are close to me, I do not naturally consider a part of my circle of interests. Every brother or sister in need, when abandoned or ignored by the society in which I live, becomes an existential foreigner, even though born in the same country. They may be citizens with full rights, yet they are treated like foreigners in their own country. Racism is a virus that quickly mutates and, instead of disappearing, goes into hiding, and lurks in waiting.
In the name of God, who has created all human beings equal in rights, duties and dignity, and who has called them to live together as brothers and sisters, to fill the earth and make known the values of goodness, love and peace;
A Mafia movie is a dramatization of organized groups of criminals whose illicit activities typically operate internationally. The Mafia as we know it today originated in Sicily back in 1860. The Sicilian Mafia or Cosa Nostra came to power after the province unified with Italy. From there, organized crime operations sprouted all over the world. Every film on this list will comply with the following characteristics of Mafia movies. 2ff7e9595c
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