#TimothéeChalamet

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[miladyziggystardust]

A Love That Lingers in the Air: Revisiting Call Me by Your Name

Some films do not just tell a story but instead capture a feeling, a place, a time that exists somewhere between memory and dream. To me, Call Me by Your Name is one of those films, an experience more than a narrative, a meditation more than a story. Watching it feels like slipping into a sun-drenched afternoon, where time is slow, the air is thick with the scent of peaches, and love unfurls gently like a lazy river winding its way through the Italian countryside.

The film, directed with exquisite tenderness by Luca Guadagnino, is not in a hurry. It breathes. It listens. It watches. The cinematography by Sayombhu Mukdeeprom captures light with an almost painterly quality, bathing everything in warm, golden hues that feel like an eternal summer. The quietness of the set, the careful use of natural sound—the rustling of leaves, the crunch of a bicycle on gravel, the distant laughter of a family at dinner, and the cicadas humming in the heat, create an intimacy so immersive that we don’t just watch Elio and Oliver fall in love, we feel it.

There is no obvious antagonist, no grand external conflict. The greatest tension in Call Me by Your Name is not between the characters but within them, the quiet ache of longing, the tentative steps toward something beautiful and terrifying all at once. This is a world without cruelty, without villains. It is a place where love is allowed to bloom without resistance, where a father speaks words of kindness and understanding rather than condemnation, and where heartbreak is met not with destruction but with reflection. It is, in many ways, a utopia -- not in the sense that it is perfect, but in the way that it holds space for love in its purest, most fragile form.

Timothée Chalamet delivers a performance that feels so unguarded, so honest, that it is as though we are watching a heartbeat in real-time. His Elio is raw and intellectual, self-assured yet impossibly vulnerable. Armie Hammer’s Oliver, in contrast, is golden and enigmatic, carrying the kind of effortless confidence that only makes his moments of hesitation all the more devastating. Their chemistry is electric but also tender; it simmers beneath the surface, in glances and gestures, in the space between words.

And then there is the silence. The spaces between dialogue, the room tone that lingers after a moment of connection—Guadagnino understands that love is not just in what is said but in what is left unsaid, in what is felt in the pauses, in the weight of a glance, in the way a hand hovers before it dares touch.

Call Me by Your Name is not just a love story; it's a memory preserved in amber, a summer that never quite ends, a song played softly in the background of one’s life long after it has faded. It's the ache of first love, the bittersweet beauty of something fleeting, the quiet devastation of knowing that some things, no matter how perfect—are not meant to last. And yet, even in that impermanence, it lingers. It remains. Like the echoes of laughter on a warm evening, like the last notes of a song before silence takes over. Like the rustling of trees long after the lovers have gone.

[by MiladyZiggyStardust]

Video credit: Editsect on YT

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Timmy is the youngest SAG Awards Best Actor ever!

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Movie Poster for "Beautiful Boy" || Design by @CardiCode

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Cine: Danny O´Neill (Lady Bird)

Sacramento (California) es un sitio perfecto para una película en la que la religión católica es un elemento imprescindible. Estamos en 2002 y allí llega Christine McPherson, una joven que desea ser llamada "Lady Bird" (Saoirse Ronan). Con su madre (Laurie Metcalf) trabajando en un hospital, su padre (Tracy Letts) atravesando graves problemas laborales y un hermano mayor (Jordan Rodrigues) que nunca abandona la presencia de su novia (Marielle Scott), la vida de la adolescente queda confinada a las paredes del colegio católico regido con severa amabilidad por la Hermana Sarah Joan (Lois Smith) mientras cuenta con ingresar a una universidad neoyorquina. Allí conoce a Danny, su primer novio (Lucas Hedges), un chico tímido y respetuoso que le cae bien a su familia por sus afables maneras.

Sin embargo, la relación de camaradería que los une se quiebra cuando Christine lo descubre besando a otro chico. Posteriormente, Daniel le confesará que tiene serias dudas sobre salir del armario con sus padres, revelando su inmensa angustia por la situación. Acto seguido, la joven posará su mirada en Kyle (Timothée Chalamet), el apuesto chico de la banda mientras su lealtad de amiga con Julie (Beanie Feldstein) se verá afectada por la seductora (y experimentada) Jenna (Odeya Rush).

Danny, es obvio remarcarlo, ejemplifica a un gay de clóset arquetípico: es un chico temeroso de enfrentar su verdadera sexualidad, engañándose en una relación amorosa con la protagonista. Su participación en la película "Lady Bird" (2017) es casi ínfima: pasada su relevancia amorosa con Christine, su aparición en el filme de Greta Gerwig, que oficia como directora y guionista, se vuelve cada vez menor (lo mismo sucede con Kyle) hasta conformar un personaje sin resolución: nunca se sabrá si se ha decidido a enfrentar su homosexualidad y por cuánto tiempo.

Vaya como apunte curioso el hecho, impresionante y merecido, de que el filme ha recibido la friolera de 124 premios tras 228 nominaciones, entre las que se cuenta cinco de la Academia de Hollywood: Mejor Película, Mejor Director, Mejor Actriz (Ronan), Mejor Actriz Secundaria (Metcalf) y Mejor Guion Original (Gerwig).

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Beautiful Boy Movie Sticker Set / T Shirt and more!

2018 biographical drama film directed by Felix Van Groeningen, based on the memoirs of David Sheff and his son Nic Shef

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Wonka" (2023) takes us on a whimsical journey through the origins of the enigmatic candy maker, Willy Wonka. Delving into his mysterious past and the inspirations behind his iconic creations, the film unravels the magic and wonder that define the Wonka Chocolate Factory.

Themes of imagination, creativity, and the pursuit of one's dreams resonate throughout the narrative, offering viewers a captivating glimpse into the fantastical world of Willy Wonka.

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Mood.

[michalputo]

'Nothing fancy.' 'I understand, nothing fancy'

Digital study from Dune 2 trailer. Can't wait for the movie.

It's kinda funny, but Timothée Chalamet replaced Kyle MacLachlan as my mental image of Paul. Sorry Kyle, still love your Paul!

Painted in Rebelle 6.

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Gwyneth Paltrow revela bastidores de cenas quentes com Timothée Chalamet

Gwyneth Paltrow revela bastidores de cenas quentes com Timothée Chalamet CapCut_TTS_Lucas_D20250322_T233819 Gwyneth Paltrow surpreendeu ao revelar que gravou “muitas cenas de sexo” com Timothée Chalamet em Marty Supreme, novo filme da A24 dirigido por Josh Safdie. Em entrevista à Vanity Fair, a atriz, de 52 anos, comentou sobre a experiência ao lado do astro de Duna e Me Chame Pelo Seu Nome, e…

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[thewritermuses]

Dune: Part Two

Dune: Part Two - Denis Villeneve

We pick up right where part one ended. The story starts with Paul and Jessica Atreides trying to be accepted by the Fremen.The stories run parallel but take very different paths. Paul is trying to get them to accept him by learning their ways and joining their fighting efforts against the Harkonnen.Jessica is trying to dominate them through fear and coercion. In her defense, she has little choice when she is offered the job of reverend mother.It's either that or die. So not a choice. But what she does after that is vastly different from Paul's approach to the Fremen. We also see two other stories playing out. The first is Feyd taking over as govener of Dune and trying to subdue the Fremen. The second is the Emporer and the Princess trying to deal with the fallout of the eradicating House Atreides.Both stories are interesting and give us different intrigues into the political system in the galaxy.

Through Feyd we see the Bene Gesserit looking to use him as another option for the chosen one. Easier to control.

We also see his uncle, Baron Harkonnen, explaining their positioning to take down the emperor. Through the scenes with the emperor and the princess, we see two very different ways of looking at the turmoil unfolding around the House Atreides massacre.She feels much more pragmatic about the whole affair. Interested in what has happened to Paul and what all of this could mean. As soon as she sees that the emperor has lost she sides with Paul. Paul's story amongst the Fremen is much more linear than his mother's. We see him rising through the ranks of fighters as more and more people accept him. It's not only accepting him, they are beginning to believe.

Jessica's story is much more insidious as she takes up the propaganda role of the Bene Gesserit. She uses fear to turn the Fremen into believers of Paul as Muad'dib.

Chani can see the manipulation and faith as control and wants no part in it. This causes a huge rift between her and Paul. Paul starts this way but shifts when he sees that there is no further course of action. He begins to have visions of the horror he will cause if he takes up the mantel.This is such an amazing story to see unfold. Paul can see himself becoming the villain but feels that there is no other option available to him. And this is exactly what happens at the end of the film as he launches the holly war across the galaxy. The use of Stilgar as a mentor figure and the face of the fundamentalists gives us a way to identify with them that we wouldn't have been able to otherwise.

The visuals continued to be spectacular. Some standouts for me were the wells in the desert. The Harkonen world was great as well. 

Almost sepia with burning black and white. It has been a long time since I've seen colour used in such a great way.There is one further creepy part of the film. Paul and his mum can talk to his unborn sister and it is very off-putting.The film is very long but there is nothing that can be cut. It is all vital. Great stuff and I highly recommend watching it. Read the full article