Call Me By Your Name is a masterful work because of the specificity of its details.

The chemistry between the men is palpable, but what's more important, they convey their characters' complex emotions, expectations and thoughts without necessarily opening their mouths.

The final beats of Guadagnino’s adaptation galvanize two hours of simmering uncertainty into a gut-wrenchingly wistful portrait of two people trying to find themselves before it’s too late.

Outside of a few short moments in Ismail Merchant and James Ivory’s “Maurice,” and Ang Lee’s “Brokeback Mountain,” the love and intimacy between two male characters has never truly felt this real or emotionally heartbreaking in a theatrical context. It’s almost revolutionary. It’s cinematic art.

Even as he beguiles us with mystery, Guadagnino recreates Elio’s life-changing summer with such intensity that we might as well be experiencing it first-hand. It’s a rare gift that earns him a place in the pantheon alongside such masters of sensuality as Pedro Amodóvar and François Ozon, while putting “Call Me by Your Name” on par with the best of their work.