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Scene Map 60
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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1 INT. ELIO’S/OLIVER’S ROOM - PERLMAN VILLA - DAY 1 The sound of an approaching car. ELIO, 17, barefoot and in his bathing suit, is in the process of moving his clothes from his room to the adjacent room - a wardrobe somehow refurbished into a single bedroom. The two rooms are
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4 INT. STAIRCASE - PERLMAN VILLA - DAY 4 They head up the stairs together; ELIO lunges for the heavy suitcase, OLIVER takes the backpack. ELIO My room is now your room. I’ll be
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8 INT. ELIO’S/OLIVER’S ROOM/BATHROOM - PERLMAN VILLA - DUSK 8 ELIO is at the desk in his small “new” bedroom; he is transcribing music. Next to his desk lamp a walkman is playing music. He hears the bell. He enters the bathroom and the door that connects it to the
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10 EXT. GARDEN IN FRONT OF THE KITCHEN - PERLMAN VILLA - DAY 10 The PERLMANS are eating breakfast outside, in front of the kitchen. OLIVER comes out and sits down, watching how ELIO expertly cracks his soft-boiled egg shell, then attempts to do the same, but only a tiny bit of the shell is pierced, so
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11 INT. PROFESSOR PERLMAN’S STUDY - PERLMAN VILLA - DAY 11 PERLMAN is attempting to devise a new filing system for his correspondence; there are packs of letters lying about and open boxes with more letters. OLIVER is helping him, ELIO is with them. The professor makes a joking comment like "My
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12 EXT. ROAD TO CREMA - DAY 12 ELIO and OLIVER are riding bicycles, with Elio in the lead. They go along the main road towards the town of Crema and its bank. The day is already hot. 13 EXT. CAFE - CREMA TOWN SQUARE - DAY 13 *
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14 EXT. SOUTH TERRAZZA - PERLMAN VILLA - DAY 14 The same day. ELIO is sitting at a table in the shade of the house, practicing his guitar. From where he sits he can see OLIVER ride up on his bike and dismount. He has to pass by ANCHISE, who is doing some garden work with small plants and
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15 INT. LIVING ROOM - PERLMAN VILLA - DAY 15 ELIO plays the piece on the piano. OLIVER leans on the door looking in. The music sounds very different from when he played it on his guitar. OLIVER
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17 EXT. STREETS/CARD CAFE - TOWN STREET - DAY 17 Another day. OLIVER and ELIO walk down a street; OLIVER steps into a cafe. Some men inside are sitting at two or three tables with playing cards. Waiters bring coffee and other drinks to the
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18 EXT. MAIN ENTRANCE LAWN - PERLMAN VILLA - AFTERNOON 18 A few of ELIO’S FRIENDS play a volleyball game in a makeshift court set up on the lawn by the main entrance of the villa. OLIVER is playing with CHIARA, MARZIA’s slightly older sister, and another BOY.
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19 EXT. TABLE UNDER THE LIME TREES - PERLMAN VILLA - EVENING 19 A gangly TEENAGER looks on with pretended disdain; his voice is just changing, he has a dark fuzz, unshaven, on his upper lip, he could be Elio three or four years earlier. PERLMAN is amusing the boy’s sisters, TWO YOUNG NIECES, aged
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22 INT. LIVING ROOM - PERLMAN VILLA - NIGHT 22 When everyone returns to the living room, PERLMAN asks his son to play something he then goes in the bar. ELIO Non mi va. (I don’t feel like it)
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25 EXT. LIME TREES - PERLMAN VILLA - AFTERNOON 25 Another day. ELIO is sitting at his usual table under the lime trees, working. From where he's sitting, Elio can see PERLMAN and OLIVER through an open window in his father's study. They are discussing Oliver’s manuscript on
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26 EXT. SOUTH TERRAZZA/ABBEVERATOIO - PERLMAN VILLA - DAY 26 Later. ELIO sits with his head back on the cushion of his chair, his eyes closed. OLIVER, far away, is sitting on the edge of the trough, his feet in the water, reading the pages from the manuscript he showed Perlman. He looks towards Elio.
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28 EXT. ABBEVERATOIO - PERLMAN VILLA - AFTERNOON 28 ELIO observes OLIVER swimming in the narrow and long stone trough. ANNELLA is close, but she's moving away with a basket of freshly picked fruit. OLIVER comes out of the water with his green swim trunks.
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30 INT. ELIO’S BEDROOM - PERLMAN VILLA - AFTERNOON 30 ELIO is on his bed wearing only a bathing suit. His right hand is down inside his swim suit. He is tense, expectant, alert to every sound. There are footsteps just outside his door. OLIVER, shirtless, enters the room from the bathroom.
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32 INT. STAIRCASE/BOCCHIRALE - PERLMAN VILLA - AFTERNOON 32 OLIVER comes down the stairs of the house followed by ELIO. They are surprised to find CHIARA and MARZIA there. OLIVER isn’t wearing any shirt and CHIARA makes a ball of the billowy blue shirt he’d been wearing earlier and tosses it at
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33 EXT. RESTAURANT WITH DANCE FLOOR - NIGHT 33 A restaurant bar with an open air dancing floor. Everyone dances. CHIARA does her sexy dancing for OLIVER, who is enjoying himself and is a very good dancer. The music is “Paris Latino” by Bandolero.
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34 EXT. RIVER - NIGHT 34 ELIO and MARZIA are at the river. They strip their clothes off. MARZIA (in french)
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35 INT. ELIO’S BEDROOM - PERLMAN VILLA - NIGHT 35 The same night. All the lights are off. ELIO, sleeping in his bed, is woken up by the sound of Oliver peeing in the adjoining bathroom - the careless, uninhibited male force of it. ELIO listens, then stands up and goes towards the door.
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37 EXT. MAIN ENTRANCE - PERLMAN VILLA - DAY 37 Later. ANCHISE is wiping the windshield of the Perlmans’ car. ELIO comes out just as CHIARA arrives on her bike. She asks him where Oliver is. ELIO
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38 INT./EXT. PERLMAN CAR - DAY - LATER 38 PERLMAN drives the car through the countryside, OLIVER has a map open on his legs. Hot air blows in through all the open windows. They are silent as the news plays on the radio, reporting on the P2 Masonic lodge.
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42 EXT. SIRMIONE - GROTTE DI CATULLO (BEACH) - AFTERNOON 42 Later, back on the beach. The bronze has been dried and cleaned. PERLMAN is speaking in Italian with the other men and women who took part in the operation, and who are analyzing the find.
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46 INT. OLIVER’S ROOM - PERLMAN VILLA - NIGHT 46 OLIVER is sitting at his desk in his boxer shorts only, working; only the desk light is on. A lit cigarette between his fingers. A radio plays some summer music at a low volume. Oliver wraps up his corrections on a page and marks it: “to
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50 INT. LIVING ROOM / KITCHEN - PERLMAN VILLA - DAY 50 The next day. The storm has passed, leaving a coolness. ELIO is playing the piano. He is immersed in thought, his mind is elsewhere. He breaks off, gets up, moves from room to room downstairs. The kitchen is empty as well. It’s the hour of
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55 EXT. ABBEVERATOIO - PERLMAN VILLA - DAY 55 Later. ELIO is sitting under the trees with his score book open. OLIVER sits on the edge of the stone trough with his feet in the water, he is wearing his straw hat. ELIO
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56 EXT. PERLMAN VILLA - DAY 56 On the way to the shed to collect their bikes, they pass ANCHISE, who hands OLIVER his bike with a wry smile. OLIVER smiles back. ANCHISE
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57 EXT. TOWN SQUARE - DAY 57 They arrive on their bikes at the little town square. OLIVER buys a pack of cigarettes, Gauloises. He lights one up, then offers one to ELIO. OLIVER
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58 EXT. COUNTRY ROAD/SPRINGS - FONTANILI GAVERINE - DAY 58 Now that ELIO has laid his cards on the table, the scenery and the fine weather buoy his spirits. They ride together on the empty country road that at this time of day is all for them. The sun pounds exposed patches along the way, exposing
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59 EXT. ROAD - DAY 59 They glide down the slope on their bikes, with wind in their hair. ELIO We’ll never speak again, you know..
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62 INT. BAR - PERLMAN VILLA - DAY 62 Later. In a very tight and confined space beside the living room is the Perlman bar. ELIO is sitting on the floor, his head tilted back, and is holding a napkin full of ice - now a mixture of blood and water - on his nose. Beside him is an
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64 INT. LIVING ROOM - PERLMAN VILLA - DAY 64 The girls burst into the living room where Elio is lying on the couch. CHIARA sits at the foot of it, MARZIA stands peering down at ELIO. He looks up at her a bit sheepishly. CHIARA takes a cigarette out of a pack and lights it. She
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65A INT. KITCHEN / PATIO - PERLMAN VILLA - LATER 65A ELIO makes himself a smoothie in Mafalda’s kitchen, cutting up a peach, a banana, then a pear, dates. Mafalda wants to do it for him and tries to take the knife away. To her, a smoothie is a foreign concoction.
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68 EXT. GARDEN IN FRONT OF THE KITCHEN - PERLMAN VILLA - DAY 68 * The next day. ELIO is the last to arrive. He pretends to ignore OLIVER, who is cracking open the top of his soft- boiled egg. ANNELLA looks at OLIVER in a worried way: ANNELLA
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69 EXT. MAIN ENTRANCE LAWN - PERLMAN VILLA - DAY 69 OLIVER is doing some work for Perlman, specify. He seems hard at work and does not look up as ELIO approaches. ELIO doesn’t know how to break the silence. Then he sees and kicks the volleyball lying under the nearby lime trees. The ball hits
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71 EXT. MAIN ENTRANCE LAWN - PERLMAN VILLA - DAY (CONT’D) 71 The conversation continues. OLIVER I’ll pick it up for you if you want.
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72 EXT. SPRINGS - FONTANILI GAVERINE - DAY 72 The vital, pure, and joyful sight of a fresh water spring, the unstoppable stream gushing out from earth. NARRATOR (V.O.) Two young men travelling by bike,
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75 EXT. COUNTRY ROAD - FONTANILI GAVERINE - DAY 75 On the return ride, ELIO ignores the turn to “his place”, i Fontanili. OLIVER, on the other hand, recognizes it, and as he passes sees the pathway disappearing into the trees. Oliver’s POV of the path.
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77 INT. KITCHEN - PERLMAN VILLA - NIGHT 77 Later, after dinner. MAFALDA is cleaning up the kitchen. ELIO, restless, comes in and goes to the fridge, scoops up some ice cream into a bowl, and goes outside, eating as he walks.
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81 EXT. STREETS - CREMA - NIGHT 81 Elio and Marzia are wheeling their bikes through the town streets. Elio sees a bookstand and asks Marzia to hold his bicycle. We stay with Marzia who sees Elio feverishly browse through the stand. He finds something he likes and buys it.
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84 EXT. RIVER - NIGHT 84 A deserted spot on the river, later. MARZIA and ELIO make love on the grass. He pulls out just in time and ejaculates on her belly. They burst out laughing. ELIO
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86 EXT. GARDEN IN FRONT OF THE KITCHEN - PERLMAN VILLA - DAY 86 Breakfast. PROFESSOR PERLMAN sits behind his newspaper, while a very sleepy ELIO cracks his egg. OLIVER walks in, sits down, and without looking at ELIO, says:
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88 INT. PROFESSOR PERLMAN’S STUDY - PERLMAN VILLA - DAY 88 * OLIVER and PROFESSOR PERLMAN project images of classical athletes in his study. On the screen is a close-up detail of a bronze navel in an impressively muscled stomach. There are several of these, and PERLMAN points out stylistic
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91 EXT. ABBEVERATOIO - PERLMAN VILLA - AFTERNOON 91 By the abbeveratoio. ELIO is asleep, his face resting on his hand. MARZIA arrives on her bike just as OLIVER leaves on his. They pause in the road to say hello. MARZIA continues towards the house and approaches the sleeping ELIO.
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97 INT. ELIO’S BEDROOM - PERLMAN VILLA - EVENING 97 ELIO finds his father in his room going through all his son’s shirts hanging in the closet in order to pick out the unwanted present. He hands it to ELIO, who groans. ELIO
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99 INT. LIVING ROOM - PERLMAN VILLA - LATER 99 ELIO is playing the piano. For his final selection, he has chosen a piece by Poulenc. The others listen almost reverently. His wristwatch is on the piano. As he is concluding, OLIVER comes in from outside and makes
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103 INT. ELIO’S BEDROOM - PERLMAN VILLA - NIGHT 103 When ELIO emerges from the bathroom he hears voices coming up from below as the guests are leaving. He reaches the window and looks down at “Laurel and Hardy” who stand by the car saying their goodbyes and laughing affectionately. The two
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105 INT. OLIVER’S BEDROOM - PERLMAN VILLA - NIGHT 105 OLIVER sits on the bed, his legs crossed, looking smaller, younger. ELIO stands awkwardly at the foot of the bed, not knowing what to do with his hands. He keeps putting them in his pockets, then taking them out again.
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106 INT. OLIVER’S ROOM - PERLMAN VILLA - DAWN 106 Dawn. Light is coming in. OLIVER is still cradling ELIO in his arms but has shifted to a more comfortable position for them both. ELIO opens his eyes, sees OLIVER looking down at him but instead of smiling or lifting his face to be kissed,
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108 EXT. RIVER - FIRST LIGHT OF DAY 108 At the river, OLIVER walks knee-deep in the water with the blue shirt on, then dives in and swims away. Elio is swimming 200 meters away, from a distance they look like two complete strangers.
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113 EXT. PIAZZA DUOMO - CREMA - DAY 113 The central square with Crema's Duomo. ELIO sees OLIVER at the newstand, sitting on his bike and scanning the headlines of the International Herald Tribune, before heading in the direction of the post office. ELIO rushes up to him.
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116 INT. ATTIC - PERLMAN VILLA - EARLY AFTERNOON 116 ELIO enters the attic. Puts the remaining peach on the old bedside table and lies down on the mattress where he made love with Marzia. He opens his book and starts reading but, easily distracted, starts looking outside the window at the
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117 INT./EXT. HUT - PERLMAN VILLA - NIGHT 117 The same night. The Perlman house is mostly dark, the window shutters all closed. There is a little light out in the hut next to the garage, where Anchise sleeps. We see him through the window, sitting at a table working on something. He has
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121 INT. ELIO’S BEDROOM - PERLMAN VILLA - DAY 121 Next day. Oliver’s blue shirt is on a hanger, all clean and pressed by Mafalda, with an attached note: “For Oliver, from Elio.” Elio strips off the shirt he’s wearing and puts on the fresh one from Oliver. He looks at himself approvingly in the
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125 EXT. WAR MEMORIAL - PANDINO - DUSK 125 * OLIVER and ELIO, still wearing their swimsuits, are in front * of the War World I Memorial for Fallen Soldiers, in the nearby town of Pandino. Elio crosses the steps and tries to * put his arms around it; he stands there spread-eagled. *
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129 INT. HOTEL BEDROOM - BERGAMO - AFTERNOON 129 ELIO and OLIVER enter their hotel bedroom in Bergamo. They look around and laugh, for no apparent reason. Later. There is a large window looking out over the front entrance of the hotel and a parking lot adjoining it.
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132 EXT. STRADA CON FONTANA - BERGAMO - DAWN 132 OLIVER holds ELIO's forehead as he pukes. Elio stands away from the wall making an "I'm okay now" gesture, and goes to the fountain nearby to splash water on his face. ELIO
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136 INT./EXT. CAR/COUNTRY ROAD - AFTERNOON 136 ANNELLA is with ELIO in the car. She is driving back to the villa. ELIO is silent. Oliver’s blue shirt is open over Elio's bare chest and blows in the wind. She looks at him. She reaches out with her free hand and
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139 INT. STAIRCASE - PERLMAN VILLA - AFTERNOON 139 ELIO meets MAFALDA coming down the stairs. MAFALDA I fixed up your room the way it was.
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142 EXT. CAMPAGNA - PERLMAN VILLA - WINTER DAY 142 The Perlman villa in Winter. A foggy day. Six months later, ELIO walks in the countryside that surrounds the villa. NARRATORE They had become each other that

Call me by your name

A transformative summer romance unfolds between a seventeen-year-old and his father's charming guest, leaving an indelible mark on their lives.

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Overview

Poster
Unique Selling Point

What sets this screenplay apart is its intimate portrayal of a summer romance that transcends cultural and generational boundaries. The lush Italian setting serves as a backdrop for a deeply personal story that resonates with anyone who has experienced the complexities of love and loss. Its unique blend of poetic dialogue and vivid imagery creates a compelling narrative that invites the audience to reflect on their own experiences of love.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

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Gemini
 Highly Recommend
Claude
 Recommend
GPT4
 Highly Recommend
Story Facts
Genres:
Drama 60% Romance 50% Comedy 20%

Setting: 1980s, Perlman villa and surrounding areas in Italy

Themes: First Love and its Complexities, Self-Discovery and Identity, Cultural and Class Differences, Parental Influence and Observation

Conflict & Stakes: Elio's internal struggle with his burgeoning feelings for Oliver, the complexities of young love, and the fear of impending separation.

Mood: Bittersweet and introspective

Standout Features:

  • Unique Hook: The story's focus on a summer romance between a young boy and an older man, exploring the complexities of first love.
  • Distinctive Setting: The picturesque Italian countryside serves as a vibrant backdrop, enhancing the romantic atmosphere.
  • Character Depth: The nuanced portrayal of Elio's emotional journey and his relationship with Oliver adds layers to the narrative.
  • Cultural Context: The exploration of Jewish identity and cultural heritage adds depth to the characters' backgrounds.

Comparable Scripts: Call Me by Your Name, The Talented Mr. Ripley, Maurice, Brokeback Mountain, The Way He Looks, A Single Man, The Perks of Being a Wallflower, Pride, The Dreamers

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

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Overall Score: 8.50
Story Critique
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Characters

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Emotional Analysis

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Goals and Philosophical Conflict
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Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
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Scene Analysis

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Scene-Level Percentile Chart
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Go to Scene Analysis

Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
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World Building
Evaluates the depth, consistency, and immersion of the story's world.
Correlations
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Loglines
Presents logline variations based on theme, genre, and hook.