Rick Morton

I know it does, it does.

I think that's a structural kind of allegory as well because it's almost like we are forced to wait for Oliver and Elio as they were forced to wait for themselves.

Yeah.

Like the first book, you know, the movie as well for the first one is so languid.

It's almost like this is a movie about spending a summer in Italy.

And they do nothing because they have no mobile phones and it's amazing.

And this, I think, similarly is a mirror.

Hello.

I've not been to the church on St.

Ewe on the right bank.

I couldn't tell you what any of those things mean.

Yes.

I mean, he does pop up at the end of the father's kind of chapter, but only through the father's eyes.

And this is where we're back in Elio's head.

And, you know, this is, again, I didn't realise this, and the book was tricky in this way, more time had passed yet again.

So I think it was ten years since the first book in the father's chapter, and then we jump forward another five years now when we get to Elio.

And he's watching, you know, this incredibly crusty old Florian quartet in what may be one of their last ever choral performances at this church.

And he didn't know whether he was going to love it or hate it, so he sits at the back.

And during intermission, he kind of runs into this dapper, older gentleman.

Notice already the tables are being turned, called Michelle.