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I’ve worked with him four times since I was five years old. They feel sorry for you because they see you running around like a madman: “Are you okay? ” Everyone is gentle with you and they’re full of compassion. Feelings are the only way they can relate to the world.
In the film, she plays Marzia, a shy 17-year-old girl in 1983 northern Italy who’s trying to win the affections of her neighbor and family friend Elio (Timothée Chalamet).
But Elio, 17, is more infatuated with Oliver (Armie Hammer), a 24-year-old grad student who’s staying with Elio’s family for the summer.
Starring Garrel alongside indie stalwart Vincent Macaigne and Paris-based Iranian actress Golshifteh Farahani, this well-performed urban tryst channels a New Wave-ish vibe.
Co-written with Christophe Honoré—in whose Garrel played a guy caught in a bisexual love triangle—the story offers plenty of moments for the trio to strut their stuff, with Farahani literally doing just that during a memorable dive bar performance.
The self-assured French actress is, in real life, a far cry from the ingénue she plays in “Call Me by Your Name” (in New York City theaters Thursday).
The tender coming-of-age tale has won critics and audiences over and is projected to be an Oscar contender.This is what I learned from making short movies: At the beginning, you want to control everything.Then you learn to give people creative freedom on set.Mona’s life is further upended by Clément (Macaigne, forever goofy), a professional movie extra and nervous wreck with whom she’s been having a platonic fling, although Clément hopes to take things a step further. There’s also a connection to [Bernardo] Bertolucci because I was in two movies about 1968.He enlists his buddy Abel (Garrel, seductive) to help win her over, but the plan backfires when Mona and Abel lock eyes—and lips. What was it like to direct your own performance for the first time? The guy I used in the May ’68 scene is the same guy from the Bertolucci movie. I guess I liked the idea of having Vincent do the most individual thing—trying to kill himself—in the middle of a collective uprising.Following the Critics’ Week special screening of Did you feel any pressure trying to realize your first film in the shadow of your father? The scene with the film inside the film was a nightmare to shoot because it took fifteen hours. You have eighty people pulling you in all different directions. And I knew I wanted to make something with Vincent [Macaigne]. I wanted to do something similar to the French comedies from the ’80s and in a [Jim] Jarmusch style. I liked the comic idea behind his loneliness when he’s surrounded by a mob of people. Friendship is important, but I didn’t want to make a buddy movie.