***MILD SPOILERS FOR CALL ME BY YOUR NAME***

I recently saw Luca Guadagnino’s Call Me By Your Name starring Armie Hammer and Timotheé Chalamet and experienced something I never have before. There are several reasons you should go see this film: the performances by the leading men are phenomenal, the cinematography is breathtaking, the soundtrack by Sufjan Stevens is undoubtedly moving, it contains perhaps what I believe to be one of the most incredible scenes of modern filmmaking. However, the most profound thing about this “gay love story” is there is no antagonist.

The subgenre for queer cinema, especially in the context of the coming-of-age story is often riddled with the main character dealing with the oppressive nature of their community. Either their school, their friends, or their family rejects them because of who they are. By the end of the film, they are either accepted by their friends and family and walk off into the romantic sunset with their love interest, ready to stand against the world in defense of their love. Or, all too frequently, they end up dead and alone.

But, that’s not the case with Call Me By Your Name. It’s quite the opposite, actually.

In the 1980s, Elio, the younger of the two men, has the fortune of having parents who frankly encourage his blossoming relationship with Oliver. The two even allow Elio to go on a trip alone with the summer intern. The only real snag that occurs is the courtship process, which is filled with humorous moments that any heterosexual rom-com fan would enjoy.

After the film was finished, I stayed a few minutes longer to hear the Arclight insider’s interview with the cast and director of the film. What I learned was astonishing. Guadagnino was put under enormous pressure to include an antagonist in the film, someone who would stand in the way of Oliver and Elio’s relationship. At one point, he was even advised to make the mother “evil.” But, he didn’t. There is no antagonist in Call Me By Your Name.

Perhaps everything does not work out in a “perfect” way, but hardly ever does everything in life work out the way you desire it to. Circumstances change; maybe it’s not the right time, not the right person. What’s incredible about this film is its commitment to authenticity. No moment is overplayed for comedy or dramatics; there is no oversaturation of emotion. Call Me By Your Name is that “one that got away” love story that we all know oh too well.

So, what does it matter if it’s between two men?

Well it matters a lot, actually.

The film is incredible of its treatment of a then-and-even-now taboo subject and the characters are allowed to let their relationship transpire without fear of retribution for something as simple as love. There also isn’t an incredible emphasis on defining the relationship of Elio and Oliver or their respective sexualities; they’re just two humans, doing a human thing. Personally, I think this is the way that new queer cinema should be presented. Of course, films and television should verge on the air of originality, but not having somebody yell at you because of who you hold hands with allows a very different, more intimate experience to transpire.