HOME
This is the blog of Ian Rosales Casocot. Filipino writer. Sometime academic. Former backpacker. Twink bait. Hamster lover.
Interested in What I Create?
Bibliography

The Boy The Girl
The Rat The Rabbit
and the Last Magic Days
Chapbook, 2018

Republic of Carnage
Three Horror Stories
For the Way We Live Now
Chapbook, 2018

Bamboo Girls:
Stories and Poems
From a Forgotten Life
Ateneo de Naga University Press, 2018

Don't Tell Anyone:
Literary Smut
With Shakira Andrea Sison
Pride Press / Anvil Publishing, 2017

Cupful of Anger,
Bottle Full of Smoke:
The Stories of
Jose V. Montebon Jr.
Silliman Writers Series, 2017

First Sight of Snow
and Other Stories
Encounters Chapbook Series
Et Al Books, 2014

Celebration: An Anthology to Commemorate the 50th Anniversary of the Silliman University National Writers Workshop
Sands and Coral, 2011-2013
Silliman University, 2013

Handulantaw: Celebrating 50 Years of Culture and the Arts in Silliman
Tao Foundation and Silliman University Cultural Affairs Committee, 2013

Inday Goes About Her Day
Locsin Books, 2012

Beautiful Accidents: Stories
University of the Philippines Press, 2011

Heartbreak & Magic: Stories of Fantasy and Horror
Anvil, 2011

Old Movies and Other Stories
National Commission for Culture
and the Arts, 2006

FutureShock Prose: An Anthology of Young Writers and New Literatures
Sands and Coral, 2003
Nominated for Best Anthology
2004 National Book Awards
Follow the Spy
Recent Crumbs
Blogs I Read
© 2002-2021
IAN ROSALES CASOCOT
Friday, January 25, 2019
11:00 PM |
Elio and Oliver, A Year Later
When
Call Me By Your Name came out in 2017, I watched it three times in a row, and then three more after that. Tonight, I watched Luca Guadagnino's adaptation of Andre Aciman's novel again after more than a year -- and it feels like I'm seeing the film in a new light, even seeing scenes I don't even remember seeing before. This time around, the film is also so much more languid, more tender, more tentative, but also surer of its depiction of despair. The music by Sufjan Stevens, I realize even more now, is just exactly right: the lush and lilt of its themes capture the exact kurot to the stomach that falling in love -- and falling into heartbreak -- brings. That last tearful scene, extended to the brink of longing and despair. That scene at the station as the train departs. That quiet scene in the car with the mother, who knew a brush of hand against hair was enough to bring comfort, and understanding. That midnight meeting at the balcony when we hear the refrains of "Visions of Gideon" for the first time. So much of this is real, and it brings me back so easily to that untethered, reckless time when I was young and falling in love for the first time like it was the last time I could breathe.
Labels: film, queer
[0] This is Where You Bite the Sandwich
GO TO OLDER POSTS
GO TO NEWER POSTS