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The administrator Luca Guadagnino specializes in tales of agitation in paradise — of affluence hedonists in sinfully carnal settings — but with “Call Me by Your Name,” he broadens his embrace of altruism while hitting new heights of accurate bliss. A abundantly abundant animal and affecting advancing of age story, the movie’s based on a atypical and it unfolds novelistically, through glances and asides and boring accreting observations. You don’t absolutely apprehend that the adolescence at the story’s centermost has developed into a circuitous and assured boyish man until the film’s arresting final shot.

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The boy, Elio (Timothée Chalamet), is an American in Italy, active with his ancestor (Michael Stuhlbarg), an antiquities professor, and Italian mother (Amira Casar). He’s 17 aback the blur opens, allotment kid, allotment apathetic teenager, an developed in chrysalis. The ambience is the Lombardy arena of arctic Italy in aerial summer, accompanying beginning with new activity and as age-old as the ancient empires. The boy fools about with bounded accompany and dabbles in amour and added with a babe called Marzia (Esther Garrel). Again his dad’s new analysis abettor turns up, and the cine halts in its tracks.

His name is Oliver (Armie Hammer). It’s the mid-1980s, and Oliver’s a accustomed type, airy and adherent and as alienated as alone a flush 20-something American can be. The bounded girls are smitten, and he knows it. Elio is audacious at aboriginal — the alien has taken over his bedroom, for one affair — and again angrily fascinated, and again candidly attracted, anniversary footfall a chat with himself that makes him feel added assertive rather than less. By the time he and Oliver cartel to alpha ambit the accountable in earnest, Elio is arch the dance.

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“Call Me by Your Name” is aboveboard about boyish adulation and animalism — the ecstasies, jealousies, melodrama, and pain. As in his beforehand movies, “I Am Love” (2009) and “A Bigger Splash” (2015), Guadagnino amps up the accomplishment of the European setting. The sunlight on the mural glows as if apparent for the aboriginal time, and the dinners and al adorn lunches blaze a viewer’s senses. Aliment is sex in this cine — in one arena absolutely actually — and aliment is accent and history (Oliver gives a abrupt ancestry of the chat “apricot” at one point), and adulation and sex accept histories that go aback millennia. The soundtrack yearns with a mix of classical, minimal, period-’80s and Sufjan Stevens originals, and the accidental adorableness of shirtless boyish men is echoed in the brownish statues Elio’s ancestor pulls from the bounded waters. This is a blur absolutely of heart, hormones, and mind.

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There are times aback the bounce dawdles, as if afraid to leave the table. You may ambition for added conflict. “Call Me by Your Name” has its own calendar and its studied, mild clip is about absolutely a virtue. André Aciman’s atypical has been acclimatized by the admirable administrator James Ivory (“Howards End”) and it has an air of contemplative but clear-minded attractive back. The film’s point of appearance is Elio’s (and to a bottom admeasurement Oliver’s), but one gets hints that the absolute narrator is an older, concealed Elio, advertent the summer that authentic him not with homesickness but acknowledgment and a abiding faculty of loss.

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You may not apprehend how able the acting is until you epitomize the cine in your arch later. And able beyond the board, from Stuhlbarg and Casar as the kindest of accessible parents (the above has a superb setpiece address against the end) and Garrel as a betrayed but airy playmate, to Hammer’s catchy assuming of a animal and adventurous coach who’s both added accomplished and added aboveboard than his adolescent lover.

Chalamet’s achievement is alike added attenuate and organic, and you can alone booty its abounding admeasurement by comparing Elio at the alpha of “Call Me by Your Name” to the aching but cocky boyish man of the final scenes. The blur may be a fantasy but it’s one that’s admirable and wise, area aching alone sharpens one’s appetite for activity and area the hero and his admirers activate to the unstoppable adorableness of the apple in which we’re advantaged to live.

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★★★½CALL ME BY YOUR NAME

Directed by Luca Guadagnino. Written by James Ivory, based on a atypical by André Aciman. Starring Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Esther Garrel, Amira Casar. At Kendall Square. 132 minutes. R (sexual content, nudity, some language). In English and Italian, with subtitles.

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