As this film begins, hazy Indian street smoke partially clears to show us our main characters. Laila, a girl with cerebral palsy, sits in the back seat, gazing out the window in what is to be one of many journeys for her in Margarita with a Straw. Music mixes with busy road noise, and we are brought into an exciting and enchanting world. […]
He stares into the fire as if searching for something; he seems drawn to it inextricably, and nods when he sits down, perhaps recognising memories from summer in the twisting flames that eventually must mark his retinas. A mix of tears, sobs and smiles, the moment —along with Elio’s emotional journey— is bittersweet. He bites his lip, chewing on a memory; later, a tear falls down his face and he lets it enter his mouth, letting himself literally consume the sadness, embracing and surrendering to the emotion. […]
“Call me by your name, and I’ll call you by mine.” It really is the perfect eponymous quote for a film about narcissism and projected self-obsession. Suggested by Oliver to his younger male lover, it reads from his mouth as a yearning for lost youth. Yes, this film is beautifully shot, and yes, the stylisation is exquisite; but this love story is far from pure. […]
After a particularly sensuous title shot ー quite simply, a smoking cigar ー this film opens rather frivolously. We pan over New York City, watching our characters go about their daily lives in a classically retro scene-setting montage. But don’t let this cheery start fool you. As catty bitchiness descends into destructive hate, ancient and fresh wounds alike are torn open, exposed to the audience. Further still, dripping in internalised homophobia, our cast of bitter gay men pour in the salt..