In a deeply emotional society, film has quenched the human thirst for raw, relatable emotion. This emotional drive has drawn such droves to theaters, but the satisfaction of stunning videography has been far overlooked as a consequence.

Call Me by Your Name revitalizes videography in such a fashion that every film you see after will be held to such esteem. Call Me by Your Name is worth seeing solely for its beauty. Elio and Oliver’s escapades expose all aspects of Lombardy, Italy, from the city centers, rich in architecture, to Elio’s vast and green family villa. It is the perfect backdrop to a love so alive and true it is visible. The 1980s dress and aesthetic is just another compliment.

Set in the summer of 1983, a progressive and spry archaeologist (Michael Stuhlbarg) invites an American graduate student, Oliver (Armie Hammer), to work with him on the villa where he and his family reside during summers. He encourages his teenage son, Elio (Timothée Chalamet) to show Oliver his way around. After a friendship has budded, Elio passively admits to Oliver his attraction to him. Oliver’s reluctancy is outmatched by the magnetic pull of true love. A love affair ensues parallel to Elio’s discovery of his manhood, a reflective and sometimes painful life changing experience Oliver is veteran to.

At its core, Call Me by Your Name is a coming of age piece. Elio experiments with love and sex with all genders. When he finds love he falls hard, a passion only recognizable in an unstained teenager, which makes his love with Oliver a tipped scale, difficult to see beyond.

Call Me by Your Name is a portrait rather than a tale, in which case solid characters are crucial. They are delivered. Michael Stuhlbarg, while his role as Elio’s father appears inconspicuous, delivers a film redeeming monologue. Whatever emptiness the viewer feels from Oliver’s return home is fulfilled. There is some debate over possible double entendres, but the alliance he expresses to his son is undeniable and beautiful.