We’ve collected all six of our features from our Special Issue on Luca Guadagnino’s Call Me by Your Name in one easy-to-read, collectible place, and included a foreword by our Editor-in-Chief Alex Heeney about 7R’s journey with the film through 2017.
Seventh Row’s Special Issues are of such high standard that one would be excused to think they only belong in hardcover print. I have re-read some of them more times than I care to admit, and thanks to the e-books, I do so on the bus to and from work, while I’m waiting for a movie to start, or just on the bed at home. – Per M. Mjølkeråen
Chapter 1: Review of CMBYN
by Alex Heeney
Guadagnino captures what first love feels like, in all its fumbling, awkward, confusing, terrifying, joyous glory.
Chapter 2: Keeping a straight face: How CMBYN‘s queer characters get misread
by Brandon Nowalk
An essay on how Call Me by Your Name is the latest in a long line of same-sex romances to have its characters diminished as empty vessels, yet this couldn’t be further from the truth.
Chapter 3: Timothée Chalamet’s silent beauty
by Joanna Di Mattia
An essay on how Timothée Chalamet conveys how words aren’t enough for Elio. His body reveals the feelings he leaves unspoken.
Chapter 4: Armie Hammer’s Oliver is more than an object of desire
by Orla Smith
An essay on how Armie Hammer’s performance as Oliver weaponizes his star persona, allowing us to misread his character in the same way that Elio does.
Chapter 5: Tricks with time
by Alex Heeney
An essay on how Luca Guadagnino uses framing and editing to expand and contract time, allowing us to experience it in the same way that Elio and Oliver do.
Chapter 6: Our 11 favourite scenes from CMBYN
Our writers pick their favourite scenes from Call Me by Your Name and write about what makes them great.
I’ve been reading the CMBYN issue, which captures the film perfectly. I saw it a couple weeks ago and, walking out of the theater, all I wanted was to turn around and watch it again. I dig Alex Heeney’s essay about time and desire, especially her discussion of the ways in which Elio’s love-lust heightens his sensitivity, as if his body clock is tethered to Oliver’s comings and goings. Brilliantly, Heeney points out that every scene acts as a warning, a reminder that such feeling is temporary and fragile. We know Elio and Oliver will look back on this summer and feel they missed it. Ugh! How did she articulate what felt so ineffable while I was watching?” – Gillie Collins
Just purchased my copy. Thanks so much to the writers of @SeventhRow for their wonderful work. As I said, this is indispensable to all fans. @RealChalamet @armiehammer #CMBYN pic.twitter.com/mjUykPP6Bp
— Tom Pe (@AlwaysWouldBe) February 3, 2018
This is a very cool way to grab some of the best film writing going around. https://t.co/UUbh6MDjts
— Tim @ beermovie.net (@beer_movie) January 30, 2018
— Angie J. Han (@ajhan) December 21, 2017
Amazing. This needed to be written about this film. It’s irritated me no end to have a film featuring Bach, Heraclitus, Giorgio Moroder, Ravel, lines directly from the book, home-run acting, and complex (sometimes problematic) sex, in a period piece, characterised as shallow. TY!
— Christopher B. P. Mahoney (@cbpm72) December 14, 2017
Want to support great female film writers? Here you go. Want to support great film writers in general? You're still in the right place. https://t.co/se7uZOyqDU
— Nick Davis (@NicksFlickPicks) January 20, 2018