Call Me By Your Name fan art.
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@loveothislife
Call Me By Your Name fan art.
Difficult to see in these pics, but I discovered something today. I was cleaning my vinyl copy of the soundtrack and I noticed an etching on side three, shown here, which I thought was a scratch. I looked more closely, held it at an angle, and realized I was wrong.
The etchings says, “Is there anything you don’t know”
It took my breath away. What a beautiful little surprise. So I checked the other sides.
Side four, “This is for you.”
Side one, “Nature has cunning ways of finding our weakest spot.”
Side two: “Call me by your name and I’ll call you by mine.”
Others may have noticed this before, but for me it was a revelation. It’s ok, I’m not crying again…
WOW!! This is so cool
CALL ME BY YOUR NAME — dissertation
Elio Perlman: The Awakening of Self Through Desire in Call Me By Your Name.
Elio Perlman, the seventeen-year-old protagonist of Call Me By Your Name, is one of the most delicately constructed coming-of-age figures in modern cinema. Portrayed with aching vulnerability by Timothée Chalamet, Elio embodies the turbulence of youth—his character is shaped by contradictions: confident yet hesitant, intellectual yet naïve, emotionally intense yet emotionally evasive. Through Elio, the film meditates on the transformative nature of first love, the longing for connection, and the bittersweet inevitability of loss.
Set against the idyllic Italian summer of 1983, Elio’s world is one of privilege, culture, and sensuality. He transcribes music, quotes literature casually, and drifts with an almost languid ease through his parents’ villa. Yet beneath that gentleness lies an inner restlessness. His confidence is largely intellectual, not emotional; he is someone who knows things, but has not yet lived them. Oliver’s arrival disrupts that equilibrium. Oliver does not merely become an object of affection—he becomes the catalyst through which Elio confronts the raw and ungoverned parts of himself.
One of the most striking elements of Elio’s characterization is the way the film portrays desire not as something clean or easily articulated, but as confusing, awkward, and often painful. Elio circles Oliver emotionally—teasing, withdrawing, provoking, and retreating again. His desire is at first something he fears because it destabilizes his sense of self. To desire means to risk rejection, to surrender control, and to become vulnerable, and Elio is terrified of vulnerability. His early behavior reflects a young man battling with longing he cannot name, envy he cannot confess, and fear he cannot reason away.
Through Oliver, Elio undergoes not just a sexual awakening, but an existential one. For the first time, he experiences a love that shatters boundaries—between friendship and passion, between mind and body, between what he thinks he is and what he might be. Their relationship allows Elio to step into his body, into his emotions, and into the fullness of being human. Oliver becomes a mirror in which Elio sees both his potential for joy and his capacity for heartbreak. Their love story, fleeting yet profound, teaches Elio that it is better to feel deeply—even if it hurts—than to feel nothing at all.
What ultimately makes Elio’s character unforgettable is the arc of acceptance he undergoes. He does not emerge from the affair unscathed, nor does the story offer the solace of a conventional happy ending. Instead, Elio is left with memory—of intimacy, of warmth, of a self that bloomed in the presence of another. The final shot, in which Elio silently weeps by the fireplace while the world continues behind him, is one of the most emotionally resonant endings in contemporary film. It encapsulates the essence of his journey: the moment when youth meets reality, when innocence meets experience, and when love meets its first winter.
Elio’s tragedy is not the loss of Oliver, but the realization that love cannot be possessed—only lived. Yet there is hope in that realization. His father’s gentle, empathetic conversation reveals that suffering is not something to shut out, but something to hold, because it proves that we have lived fully. By the end of the film, Elio is no longer a boy who observes life; he has tasted it, and that experience will shape everything that follows.
In Elio Perlman, Call Me By Your Name presents a character who embodies the exquisite agony of first love and the universal human desire to be seen, felt, and remembered. He is, in the end, not defined by heartbreak, but awakened by it.
Oliver: The Stranger, the Catalyst, and the Unreachable Summer in Call Me By Your Name.
Oliver, portrayed by Armie Hammer in Call Me By Your Name, occupies a singular and enigmatic position within the film’s emotional landscape. If Elio represents raw longing—unfiltered, unformed, and burning—Oliver is the opposite: composed, self-contained, and quietly burdened by the expectations of adulthood. He is at once the object of desire and the agent of transformation, a figure who enters Elio’s world like summer itself—bright, overwhelming, and destined to leave.
From the moment Oliver arrives at the Perlman villa, he unsettles the quiet rhythm of the household. His confidence, athleticism, and easy charm make him immediately magnetic. But Oliver’s appeal goes beyond physical presence; it is his assurance that captivates. He speaks and moves with the grace of someone who believes he knows his place in the world—a stark contrast to Elio, who is still discovering his. Yet this surface-level confidence obscures a deeper truth: Oliver is composed not because he feels free, but because he cannot allow himself to fall apart.
Oliver is older, and with age comes awareness—awareness of consequences, of societal constraints, of the risks that desire carries in 1983, especially between two men. He often appears to resist Elio not out of disinterest, but out of fear: fear of hurting him, fear of crossing an ethical boundary, and fear of surrendering to something he knows may not last. His hesitation is not coldness, but caution. If Elio is impulsive because he still believes love can bend the world, Oliver knows better. He has already learned that the world often bends people instead.
Yet Oliver does feel deeply. His restraint makes every slip—every glance, every touch, every moment of softness—immeasurably significant. When he finally allows the romance to unfold, it is with an intensity that reveals everything he had been holding back. In those private moments with Elio, Oliver is no longer the golden guest, the scholar, or the charming American abroad. He becomes simply a man in love—vulnerable, tender, and achingly present.
Their relationship exposes Oliver’s greatest contradiction: the desire to live truthfully and the need to survive realistically. Oliver can taste freedom, but he cannot claim it. Even as he encourages Elio to embrace his feelings—to “call me by your name, and I’ll call you by mine”—Oliver remains tethered to a world that demands conformity. His departure at the end is not a rejection of Elio, but a surrender to circumstance. He chooses stability over passion, certainty over possibility. It is a choice rooted not in weakness, but in resignation.
The phone call months later reveals Oliver’s tragedy in full. He remembers. He suffered too. But he has already stepped into the life expected of him—marriage, tradition, respectability. Unlike Elio, who still stands on the threshold of becoming, Oliver has already crossed that line. He knows that the freedom they tasted together was temporary, a season they were lucky to have, not a life they could keep.
Oliver’s character embodies a universal truth: some loves do not stay, but they change us permanently. He is the catalyst of Elio’s awakening, the person through whom Elio discovers not only desire, but the ache and beauty of feeling deeply. Oliver leaves, but the imprint of him lingers in every corner of Elio’s memory—because some people don’t stay in our lives, only in our becoming.
In the end, Oliver represents the paradox of first love: he is both the gift and the wound, the beginning and the ending. His presence teaches Elio how to feel; his absence teaches him how to live with what cannot return. Oliver may walk away, but as the film quietly suggests, what they shared was real—and sometimes, being remembered is a form of forever.
A Love That Shapes, Not Stays: The Relationship Between Elio and Oliver in Call Me By Your Name.
The relationship between Elio Perlman and Oliver stands as one of contemporary cinema’s most intimate depictions of first love. Directed by Luca Guadagnino and based on André Aciman’s novel, the film follows the brief yet life-defining romance between a seventeen-year-old boy and the graduate student who comes to live with his family for the summer. Their relationship unfolds slowly, then all at once, capturing the hope, urgency, confusion, and inevitability that accompany the moment in life when one first discovers the terrifying magnitude of desire.
Set in the sensuous landscape of northern Italy, their story is inseparable from its environment. The fruit trees, sunlit villas, and long summer afternoons become mirrors of their emotions—lush, overwhelming, and fleeting. Elio and Oliver fall in love in a world drenched in warmth, where time moves languidly, as if permitting them a temporary refuge from reality. The pacing of their relationship reflects this seasonality: hesitant beginnings, intoxicating middle, and, like summer itself, an ending that must arrive whether one is ready or not.
Emotionally, Elio and Oliver exist as two contrasting forces that complete one another. Elio is raw, restless, and overflowing with feelings he cannot yet interpret. His desire is hungry, unrefined, and marked by the intensity of someone discovering both love and himself at the same time. Oliver, in contrast, is poised and guarded. He carries the weight of adulthood—an awareness of consequence and social expectation that Elio has not yet learned to fear. This dynamic shapes their bond: Elio pushes with emotion; Oliver resists with restraint. Their love deepens not in spite of these differences, but because of them. Oliver becomes the catalyst for Elio’s awakening, and Elio becomes the rare space where Oliver allows himself vulnerability.
Their relationship is also defined by discovery—not only of each other, but of identity. Elio learns that love is not simply desire, but exposure: to love is to be seen and to risk being hurt. Oliver learns, perhaps painfully, that love alone may not be enough to overcome the life he is expected to lead. Their connection exists in a fragile balance between what they want and what the world will allow.
The heartbreak of their story lies in its inevitability. There is no dramatic betrayal, no sudden rupture—only the quiet reality that their lives are destined to diverge. Oliver chooses the path of safety and convention, not because his love for Elio was insincere, but because he lacks the freedom to remain in that summer forever. For Elio, the loss marks the end of innocence. The film’s final moments—Elio silently crying by the fire while Oliver’s voice echoes over the phone—crystallize the essence of their relationship: love that was real, but not sustainable.
Yet Call Me By Your Name refuses to present their story as tragedy. Instead, it suggests that some loves, even when they do not last, are formative. Oliver leaves, but the emotional awakening he sparked in Elio becomes part of Elio’s identity. Elio’s father puts this into words when he urges his son not to shut out the pain, reminding him that feeling deeply is one of life’s greatest gifts. Through Oliver, Elio experiences the fullness of love—even its devastation, which ultimately leads to growth.
Elio and Oliver’s relationship endures not through permanence, but through resonance. It lingers in memory, in self-discovery, and in the quiet realization that the people who shape us do not always stay with us. Their love is fleeting, but its impact is lifelong. It is a story not about possession, but transformation—about the kind of love that doesn’t promise forever, but changes forever.
VALENTINE * by Wendy Cope
... for all the lovers out there today
manip by @charmied
I love it... and it will be in Los Angeles 😍😍
February 13 Call Me By Your Name 💙
update about 'Marty Supreme' screening in Los Angeles tomorrow ✨✨
all events were sold out already two days ago 😍
The nine-film screening series celebrating his filmography will be presented in theaters across Los Angeles, with Chalamet in attendance at
The Valentine’s-themed series finale will be a screening of Chalamet’s 2017 film Call Me By Your Name.
The screening will take place at the Los Angeles Theatre in downtown L.A. According to a press release, guests of the event are also invited to “embrace the romance of the night” with “a free photobooth, a dance party to shake off the longing, and a full bar to toast to love, all unfolding across five breathtaking floors of movie palace grandeur.”
There will also be a pre-recorded introduction by filmmaker Luca Guadagnino. Chalamet will conclude the film with an onstage conversation with Apple Music radio host Zane Lowe.
Honestly, I wasn't sure about making this timeline. But you guys are awesome, and the fact that you woke me up on the second day of this year with your request got me going. And that's good, because not remembering all those amazing moments of 2025 would be unforgivable. Thank you ♥
JANUARY 2025
after a moment of calm between Timmy and that green heart ...
... the year 2025 began in the worst possible way, even though the abandoned ruins provided a certain degree of privacy for two crazy cyclists ... thanks to their unidentifiable coverings, all we know is that it's Armie with someone shorter than him, with short dark hair, a slim build in baggy clothing, and with whom he feels comfortable biking the streets (muscle memory?)
But the promo rolled on, no matter what, so Timmy left for Paris, and it seems like someone missed him
this SNL performance was the cherry on top of January's cake ...
FEBRUARY
what happened in Rome stays in Rome ...
some passages from the Charmie Bible by Luca ...
Armie being a good boyfriend
and confirmation from Armie's best friend that Timmy likes to stay at the JT Motel, a place Armie helped rebuild
MARCH
... omg what a month! Armie was on fire ...
we been knew, Armie
we been knew, ARMIE
we been KNEW, ARMIE
... so French hairles twink ... we BEEN KNEW, ARMIE
... and even more so when Armie's close friend sends you this clue on that podcast episode via DM?
WE BEEN KNEW !
(oh ... and Lizzie couldn't keep quiet on this special day once again)
... however, that was not all that March brought There were also some deep thoughts from Armie on the day Timmy's wax figure was put on display
... and some completely random Timmy wandering around nowhere else but a few meters from the house where Armie was babysitting his children that day
APRIL
remember how Timmy posted that BD pic from Joshua Tree and the antis were telling us it was southern France? Seems like Ash was still making fun of it last April ... Africa 😂
... and Armie also started following this Instagram account, which posted really nice manips of our boys... I hope he enjoyed it as much as we did before it was deleted (too bad)
MAY
Timmy posted - and immediately deleted - this story from Prima Vista Lounge at Fiumicino Airport in Roma (did he confuse Insta with Finsta?)
and kept us busy for a long time, because that guy on the left ... just looks familiar
pose ...
clothing and belly ...
wrist tattoo?
what do you think? ... anyway, why bother deleting a completely innocent picture in a panic, right?
Is it possible that they spend more time together than anyone thinks (and pick up each other's habits)?
JUNE
Armie's podcast brought some interesting ideas again
some interesting pictures too
some slip of the tongue out of nowhere
... and some of Armie's former podcast guests added fuel to the fire
And just like that, our boys shaved their heads at the same time. Timmy on June 25 (as we learned in December) and Armie at the same time (as we saw on June 27) ... explain
JULY
we learned directly from a New Yorker tattoo artist that Armie spent some time in NYC at exactly the same time that Timmy was filming there (which no one had any idea about until then)
... boys were once again in perfect sync, much like in the old days (their stories posted a few minutes apart)
and one day apart ...
Timmy also surprised everyone with a post about watching this Netflix show... but it also makes perfect sense, since Armie had this podcast guest just two weeks ago.
it also seemed that BigFood was still an inside joke 😁
Armie's long-standing inner circle (which usually tries to hold back) reacted to Timmy's nostalgic post
and we get it, we also like to remember those days...
AUGUST
August was quieter. Since Timmy was filming in Budapest, Armie's insta (quite logically) started following some art projects based in Budapest
each new episode of Armie's podcast debunked his alleged heterosexuality more and more
Timmy's new film project was announced, and Armie immediately remembered his passion for bikes (I assume completely by chance)
SEPTEMBER
... and by the same chance he started following this Instagram account in September
... also Armie and his favorite bottle in the podcast
OCTOBER
October was the month when the huge Marty Supreme promo began, with loud bro energy in demand
Armie left all his socials (he deleted his insta in September), stopped his podcast ... and if you read everything above carefully, it actually makes sense, right? I really hope he comes back at some point. It's frustrating ... idk, maybe not just for us?
NOVEMBER
Timmy came back from filming in the desert unusually tanned ... and he wasn't the only one seen with this shade of tan those days
some of the people who have been working with Armie lately have had an inexplicable urge to lecture us about their heterosexuality (unsuspiciously)
while they confusedly reposted stuff like this
and liked stuff like this
Timmy's MS promo picked up steam with several of Armie's favorites
... and a hint of shame for "partner"
since Armie is currently quiet, we at least got an interesting picture from his friend
DECEMBER
the award season was in full swing, so you had to tread carefully (can you see the difference compared to summer, for example?), but there was a little space for self-expression
some nice memories
and quiet support
What a year it's been!
Timmy still signs all that CMBYN stuff on Armie's side (and is still just as nostalgic about it)
We still have family members who express their support for the other side with likes (I won't publish ss, believe it or not)
... and supportive long-time friends ... who try to be careful, but you know, we're all just human (there was a lot of it, here's a taste)
And last but not least, there was that toxic ex all year long. Still just as obsessed, still trying to be like him (or at least like someone associated with him)
this attempt to copy Dream Big promo with handwritten orange notes and parroting 😂
the same day ... Coachella
her show finally available in Hungary ! (of all countries) while Timmy was in Budapest
same day, same hotel
4 hour time difference
2 hour time difference
I could go on and on ... but there are a few more interesting things that made us go HMMM this year
some interesting music picks
explain ...
the same day
production company of Armie's film literally obsessed with someone
... and (for the sake of example) Timmy's voice coach liking some hardcore charmie IG posts ...
So many interesting and inexplicable things happened in 2025.
Thank you for being here with me, thank you for sharing your thoughts and findings with me ... and "keep doing motherf*ckers" 😎
Armie isn't making it easy for us with his absence 😅
Tim and Call Me By Your Name...
the way he always does it and always will ❤️
his face ❤️🥺
he's in his feels every time.. and he can't hide that ❤️
when his place is always there for years.. on Armie's side 💙
and again today 💙
oh Tim.. ❤️🥺
... and he goes to do it there.
always there, every fuckin time.
New arc unlocked in this very bad reality show: Dru Hammer suddenly has a gay best friend (that’s how the paid article introduced him). Now they’re launching a podcast together, and their first interview is Armie. If you can’t beat the gay, join the gay.
Dru in the first interview with her gay best friend and gay son internally: ‘These gays… they’re trying to murder me
I....................................
dorks ♥ ♥
Riddle me this.
The guy who posted his selfies with Timmy earlier today was/is at the same awards show as Armie …. all in the same day.
👀👀👀👀
Never forget 🤭😏
How it started…
How it’s going… 😏
🤭
It’s SO late.
I can’t sleep.
And look what I just…. I can’t.
I’m not crying. You are crying.
@hopelesssterekshipper
via: cremaskbrand
Oh. My heart. 😭😭😭😭
They were in a euphoria
🍑
AND MY ❤
And my heart.
Q&A of the CMBYN crew after the Paris premiere, on January 26th.
Wounds (2019) dir. Babak Anvari
Hi, I have a very important question on a very important matter ;)
Do you remember that at Sundance (Jan 2017) Armie's right hand was in a sling thanks to a torn pectoral muscle? So I was wondering who exactly helped him dress (and undress, of course...), considering Liz was at home after giving birth to Ford..?
Do you think our Angel Babe volunteered to lend a hand..?😏
🤭🤭
There are things you can do with one hand when getting dressed, but you can't fasten buttons or a zip with one hand. He definitely needed help 😁and by the look of Honey badger's smile...
An Archive of Our Own, a project of the Organization for Transformative Works
😉
aaaaah 😍
"I'm coming to the cottage "