Indep-Thinker

There are different kinds of love, and the lowest of them is physical love, i.e. Sex.

Unfortunately, our current vocabulary is so poor that we use the same word "love" for sex, for a mother's love for her child, and even for faith in our Spiritual God-Father.

In the logline for this film, we read "... romance blossoms between a seventeen-year-old student and an older man..." But was it really a romance, i.e. Love story, or something else?

The plot of the film is constructed in such a way that the viewer at first naively believes that this is a kind of physical love of equal partners. In other words, romance.

This illusion lasts until Elio tells Oliver "God, we wasted so many days! Why you didn't give me a sign?", meaning that they could have started having sex much sooner.

In turn, Oliver's response throws us back to the ground when he replies "I gave you a hint when I touched you on the 'football' field."

This phrase means that 30+-year-old Oliver deliberately seduced a teenager Elio, who is half the age of his partner. This deliberate physical action and the consequences that follow it, we can not by no means call "love story, i.e. Romance." Even according to our undeveloped vocabulary, the real name for this act is SEDUCTION and this seduction is of a naive and underage boy.

After all, any physical action of a person, such as a touch, is determined primarily by mental intention. Even a simple casual touch can trigger feelings, but touch with intent has a much more powerful effect on a person.

It is the responsibility of the producer and director of the film to convey the message in the logline as accurately as possible, i.e. It's not romance, but a seduction.

In general, the film was shot at a high-quality level.

The protagonist is an old man who tends to buy low and sell high. He teaches the same to his teenage grandson.

Despite the fact that the main character works in the field of art, he does not bring any inspiration or uplift to the plot and his attention is focused on completely on the money.

However, there were several moments in the film that could serve as the basis for introducing a deeper metaphysical or spiritual layer into the film's plot.

For example, the impetus for this could be the moment when the main character shows his grandson a picture with an old man and a child, and subsequently beat why Repin painted an icon of a saint instead of a portrait of a rich man.

This could work great for completing his own life story and a lesson for his grandson - material things aren't all we're here for.