Call Me by Your Name, released November 24, 2017, by Sony Pictures Classics, is a $3.5 million romantic drama that grossed $43 million worldwide, a sleeper hit adapted from André Aciman’s 2007 novel. Directed by Luca Guadagnino and scripted by James Ivory, it stars Timothée Chalamet as Elio Perlman, a 17-year-old in 1983 Italy, falling for Oliver (Armie Hammer), a 24-year-old grad student lodging with Elio’s archaeologist parents (Michael Stuhlbarg, Amira Casar). Shot in Crema, Lombardy, over 34 days, its 132-minute runtime unfurls a summer of desire, heartbreak, and peach-infused chaos, nabbing four Oscar nods (winning Adapted Screenplay).

The chaos blooms quietly—Elio’s piano riffs crash into Oliver’s dance, a nosebleed interrupts lust, per Box Office Mojo’s $18 million domestic haul. Guadagnino, capping his Desire Trilogy after I Am Love, crafts a Before Sunrise echo—sensual glances, bike rides, a “Call me by your name” vow. Chuckles dot the haze—Oliver’s “Later!” exit, Elio’s “Is it better to speak or die?” quip—softening the ache, per Variety’s “ravishing.” Critics adored it; Rotten Tomatoes hit 94%, Metacritic 94/100, with LA Times’s Justin Chang calling it “sublime.” X posts since 2020 sob “Elio’s tears,” though some balk “too slow.”

The pacing’s a languid storm—lazy days erupt in furtive touches, a train farewell guts, per Hollywood Reporter. Sundance 2017 sparked its buzz, Ivory’s pen clinching gold, per The Numbers. It’s chaos of the heart—chuckles amid longing—a tempest that turned Chalamet into a star and Guadagnino into a maestro.

The cast is Call Me by Your Name’s beating pulse, a chaotic ensemble of raw yearning. Timothée Chalamet’s Elio is electric—gangly, brooding, his “I don’t know what I feel” piano stumble and peach scene sear, per Empire’s “breakout.” Armie Hammer’s Oliver radiates—golden, cocksure, his “You know what I like” growl and soft “Elio” whisper balance swagger and soul, per Roger Ebert’s “magnetic.” Their chemistry—poolside teases, a midnight tryst—ignites, per Variety, despite Hammer’s later scandals dimming rewatches, per Forbes 2021 fallout.

Michael Stuhlbarg’s Mr. Perlman devastates—his “We rip out so much of ourselves” monologue a father’s gift, per LA Times’s “career peak.” Amira Casar’s Annella glows—her “He’s shy” nudge subtle, per The Guardian. Esther Garrel’s Marzia, Elio’s fling, aches—“You hurt me”—while Victoire Du Bois’s Chiara flirts and fades. Chuckles gleam—Oliver’s “Grow up!” toss, Elio’s “Truce?” grin—weaving levity into chaos. Rolling Stone hails “Chalamet’s genius,” X posts coo “Stuhlbarg’s speech tho,” though some snipe “Hammer’s stiff.” They’re the tempest’s tender core—vivid, visceral, vital.

Visually and sonically, Call Me by Your Name is a chaotic Eden, a Guadagnino feast. Sayombhu Mukdeeprom’s cinematography bathes Crema in gold—villas shimmer, orchards sway, per Cinematography World. The chaos simmers—flies buzz, a Volpi statue looms, Elio’s tears soak a train platform—shot on 35mm with one lens, per AV Club’s “lush intimacy.” Skin glistens—Oliver’s swim, Elio’s bike chase—earning Letterboxd’s “summer vibes,” though NY Times flags “too pretty” polish. Guadagnino’s gaze lingers—every frame a painting, per IndieWire.

Sufjan Stevens’s songs—“Mystery of Love,” “Visions of Gideon”—weep, Oscar-nominated, per Soundtrack World. Sound design—crickets chirp, water splashes—wraps you, per Rolling Stone’s “sonic spell.” Chuckles hum—Oliver’s “Later!” bounce, Elio’s piano clang—amid a scoreless drift, per BBC’s Mark Kermode. “Futile Devices” seals the end—credits roll, hearts break. Flaws? Pacing dawdles—Variety’s “languorous”—and sound’s soft next to Suspiria’s wail. Still, it’s a sensory tempest—visuals and sound a tender chaos that haunts.

Call Me by Your Name’s strength is its chaotic beauty—a love story that wounds. Chalamet’s “revelatory” Elio (Time), Hammer’s allure, and Guadagnino’s touch stun; Roger Ebert gave 4/4 for “exquisite pain.” Stakes—first love, lost time—pierce, per Empire’s “unforgettable.” Chuckles—Oliver’s egg yolk gag, Elio’s “I’m a mess” shrug—lift a 2017 winter post-Dunkirk, per Box Office Mojo. Its $43 million haul from a $3.5 million budget, plus Oscar glory, sparked Bones and All, per Forbes. X posts still cry “peach scene,” a cultural keystone—Challengers owes its vibe, per Vulture 2024.

Weaknesses sting. The runtime—132 minutes—drifts, per Variety’s “overlong,” and Oliver’s age gap (24 to 17) irks some, per The Guardian post-Hammer fallout. Marzia’s arc thins—Metacritic’s 94/100 dips “slight”—and sap can cloy, per NY Times. Still, it grips; Rolling Stone’s “near-perfect” trumps quibbles. Legacy-wise, it’s a titan—Chalamet’s rise, queer cinema’s glow, per The Numbers. At 9/10, it’s a chaotic, chuckle-laced tempest—lush, lacerating, luminous. For romantics or art buffs, it’s a must; a summer fling that lingers forever.