A playful, piano heavy soundtrack adds to the film’s sense of longing and discovery, with DP Sayombhu Mukdeeprom (Uncle Boonmee Who Can Recall His Past Lives, 2010) and editor Walter Fasano (who co-wrote the screenplay alongside Guadagnino and James Ivory) contributing to the film’s summertime sadness vibe, a lush, san-dappled tension which eventually becomes an accelerated throb of sensuality accompanied by the kind of overpowering desire which doubles for pain.
Rather, working with the gifted Thai cinematographer Sayombhu Mukdeeprom (who shot Uncle Boonmee Who Can Recall His Past Lives and Arabian Nights ), he’s refined his style into something poetic rather than bombastic.
As lighted by cinematographer Sayombhu Mukdeeprom, who shot the recent “Arabian Nights” trilogy and, earlier, “Uncle Boonmee Who Can Recall His Past Lives,” every second of “Call Me by Your Name” looks luscious as shot on 35 millimeter film.
The cinematographer, Sayombhu Mukdeeprom ( Uncle Boonmee Who Can Recall His Past Lives , Arabian Nights ), films this confession in an elegantly choreographed long take in which the two men are separated by a monument in a public square, their faces visible to each other but not to us.
Rippling with nervously excited piano compositions and shot with immeasurable sensuality by Thai cinematographer Sayombhu Mukdeeprom (“Uncle Boonmee Who Can Recall His Past Lives” and “Arabian Nights”), “Call Me By Your Name” is a full-bodied film that submits all of its beauties to the service of one simple truth: The more we change, the more we become who we are.
The cinematography by Sayombhu Mukdeeprom, known for creating slow, meditative cinematic moments with Apichatpong Weerasethakul in films such as Uncle Boonmee Who Can Recall His Past Lives and Blissfully Yours, displays the same characteristic control over its visual and sensory subject matter.