Regardless, the allure of Call Me By Your Name, the story of a 17-year-old rich white kid (Timothee Chalamet) and his Italian summer tryst with a hunky grad student (Armie Hammer), is in all of that anticipation and lazy anxiety, of never being quite sure what’s right for you because you’re not yet quite sure what “you” means. Perlman mentions, the statues are ‘daring you to desire.’ The film, while occasionally inching towards it, never takes that dare.” Much has been made about whether the film flinches at the physical love it champions, or embraces with grace and decorum the same love, finding eroticism in other (maybe juicier, stickier) images. In Kyle Turner’s Paste review of Call Me By Your Name, he muses that in the film’s opening credits “there’s enough of a hint to suggest that, as Michael Stuhlbarg’s professorial patriarch Mr. Stars: Mame Bineta Sane, Amadou Mbow, Nicole Sougou, Aminate Kane But what’s unfathomable about it is also what makes it so powerful. From the outside, it makes no sense that Reynolds and Alma would have this sort of connection with each other it’s difficult to tell what either person is getting out of it. My colleague Tim Grierson said this first, but it’s too good an observation to ignore: This movie is in large part about the absolute unknowability of other people’s relationships. It’s the oddest little love story, so odd that I’m not even sure it’s about love at all. Both of the principals of Phantom Thread are absurd and insane in their own ways, and one of the many thrills of the film is watching them bounce off each other, and then collide again. Almost everything that doesn’t meet his exacting standards is vulgarian, until one day while in the English countryside, Reynolds comes across a waitress named Alma (Vicky Krieps) who both meets Reynolds’ physical requirements (specifically so he can make dresses for her) and has a certain pluck that he instantly finds fascinating. Daniel Day-Lewis plays Reynolds Woodcock, a world-famous dressmaker who clothes celebrities, royalty and, sometimes to his chagrin, déclassé wealthy vulgarians. This is an uncompromising movie about two uncompromising people who try to live with one another without losing too large a part of themselves, and the sometimes extreme lengths they will go to get their way. This has to be the most luscious-to-watch film, ever, that is in large part about how self-centered and inflexible the world of relationships can be, how we can only give up so much of ourselves and it’s up to our partner to figure out how to deal with that, if they want to at all. Phantom Thread is a movie that is so wonderfully made, so meticulous in its construction, so deeply felt in execution, that you can almost overlook how prickly and scabrous it is. Stars: Daniel Day-Lewis, Lesley Manville, Vicky Krieps
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