In a world brimming with heteronormative narratives (Townsend, 2018), Call Me By Your Name provides us with stunning insight into a young man’s homosexual desires and coming-of-age amid a rather unconventional upbringing. Categorized as “a gay love story with all the pain of growing up,” the film joins other Oscar-winners like Brokeback Mountain and Moonlight as one of the few examples of popular queer narratives (D’addario, 2017).
At the same time, Call Me By Your Name has separated itself as a homosexual-male narrative that is devoid of the usual antagonists. Absent or disapproving fathers, shallow talk, and societal pressure have little or no place in the film. Instead, its antagonists are struggles of love and the pain of loss. Kenneth Burke (1967) theorized that literature—and film according to Young (2000)—is “equipment for living” and more than capable of influencing its audience (p. 447–8). As such, Call Me By Your Name supplies equipment for living to homosexual males and the entire LGBTQ community.
Happy summer, y’all! 💃💃💃
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