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* LastMomentTogether: At the end of, Elio says goodbye to Oliver, the American grad student that he fell in love with while Oliver was staying over for the summer. He escorts Oliver to the train as part of Oliver's trip back, then is crushed by the weight of his certainty that he'll never see Oliver again. In the film's last minutes, some time later, Oliver calls Elio and family... to tell them that he's getting married to an on-again, off-again girlfriend he dated in college, making it very likely that saying goodbye at the train station will be the last time the two men ever see each other. The end of the film is Elio silently crying by himself while everyone else around him goes about their lives.
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* SummerRomance: Elio has a relationship with Oliver, who's working with his academic father, in the summer of 1983. It comes to a halt when [[spoiler:Oliver gets engaged to a woman in fall or winter.]]
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* CloseOnTitle: The move name appears first at the start of the closing credits.
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* GratuitousFrench: The cast are primarily French and speak it amongst themselves in the film. Elio will speak French to Marzia and then go outside and switch to Italian.
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* GratuitousFrench: The cast are is primarily French and speak speaks it amongst themselves in the film. Elio will speak French to Marzia and then go outside and switch to Italian.
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* TheOner: The scene in the town square where Eliot is [[LoveConfession confessing his love to Oliver]] is an uninterrupted shot of four-and-a-half minutes.
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* VomitIndiscretionShot: Eliot is vomiting on-screen during the night-time scene at Bergamo.
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trope is renamed Prefers Going Barefoot. Dewicking old name
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* DoesNotLikeShoes: Elio likes to be barefoot, wherever possible.
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* PrefersGoingBarefoot: Elio likes to be barefoot, wherever possible.
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* AdaptationalAlternateEnding: The film ends much earlier and slightly differently from the book, with [[spoiler:Elio still a teenager, reflecting on their relationship]]. Aciman himself has stated after viewing it that he prefers the film's ending.
%%* AdaptationExpansion: Guadagnino said he intends to continue Elio's story in further sequels, in a way similar to Creator/RichardLinklater's ''Film/{{Before|Sunrise}}'' trilogy or the ''Series/{{Up}}'' {{documentary}} series. A hypothetical second installment would be shot and released by 2020, so that Chalamet [[RealTime would be the same age as Elio in the film's timeline]].
* AdaptationalHeroism: Let's just say Elio is a more complex character in the book, though he is still likable. He's petulant, less innocent and his stalking of Oliver is more aggressive. Rather than [[spoiler: ending as he does in the film, heroically embracing his pain, he never gets over Oliver and stews about it for years.]]
* AdaptationalMundanity: The film is still an art film, but it has a far more realistic feel than the book which veers into the fantastical at times, with far heavier symbolism and long meditations on the nature of time. Vimini, for example, was probably adapted out because her character fits in with symbolism in the book that isn't really present in the film.
%%* AdaptationExpansion: Guadagnino said he intends to continue Elio's story in further sequels, in a way similar to Creator/RichardLinklater's ''Film/{{Before|Sunrise}}'' trilogy or the ''Series/{{Up}}'' {{documentary}} series. A hypothetical second installment would be shot and released by 2020, so that Chalamet [[RealTime would be the same age as Elio in the film's timeline]].
* AdaptationalHeroism: Let's just say Elio is a more complex character in the book, though he is still likable. He's petulant, less innocent and his stalking of Oliver is more aggressive. Rather than [[spoiler: ending as he does in the film, heroically embracing his pain, he never gets over Oliver and stews about it for years.]]
* AdaptationalMundanity: The film is still an art film, but it has a far more realistic feel than the book which veers into the fantastical at times, with far heavier symbolism and long meditations on the nature of time. Vimini, for example, was probably adapted out because her character fits in with symbolism in the book that isn't really present in the film.
to:
* AdaptationalAlternateEnding: The film ends much earlier and slightly differently from the book, with [[spoiler:Elio still a teenager, reflecting on their relationship]]. Aciman himself has stated after viewing it that he prefers the film's ending.
%%* AdaptationExpansion: Guadagnino said he intends to continue Elio's story in further sequels, in a way similar to Creator/RichardLinklater's ''Film/{{Before|Sunrise}}'' trilogy or the ''Series/{{Up}}'' {{documentary}} series. A hypothetical second installment would be shot and released by 2020, so that Timothée Chalamet [[RealTime would be the same age as Elio in the film'stimeline]].
timeline]].
* AdaptationalHeroism: Let's just say Elio is a more complex character in thebook, though book. Though he is still likable. He's likable, he's petulant, less innocent and innocent, his stalking of Oliver is more aggressive. Rather aggressive, and rather than [[spoiler: ending [[spoiler:ending as he does in the film, heroically embracing his pain, he never gets over Oliver and stews about it for years.]]
* AdaptationalMundanity: The film is still an art film, but it has a far more realistic feel than thebook book, which veers into the fantastical at times, times with far heavier symbolism and long meditations on the nature of time. Vimini, for example, was probably adapted out cut from the film because her character fits in with symbolism in the book that isn't really present in the film.
%%* AdaptationExpansion: Guadagnino said he intends to continue Elio's story in further sequels, in a way similar to Creator/RichardLinklater's ''Film/{{Before|Sunrise}}'' trilogy or the ''Series/{{Up}}'' {{documentary}} series. A hypothetical second installment would be shot and released by 2020, so that Timothée Chalamet [[RealTime would be the same age as Elio in the film's
* AdaptationalHeroism: Let's just say Elio is a more complex character in the
* AdaptationalMundanity: The film is still an art film, but it has a far more realistic feel than the
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* AgeGapRomance: Downplayed in that there's only a seven-year difference between them, but visually, Oliver looks ''much'' older than Elio, played by the youthful Chalamet, despite both actors being only a few years older than their characters. This isn't helped by promotional materials and critics both describing Elio as, alternatively, a child or an adolescent.
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* AgeGapRomance: Downplayed in that there's only a seven-year difference between them, but visually, Oliver looks ''much'' older than Elio, played by the youthful Timothée Chalamet, despite both actors him and Armie Hammer being only a few years older than their characters. This isn't wasn't helped by promotional materials and critics both describing Elio as, alternatively, a child or an adolescent.
