我简单地把《本色》当作一部“情绪作品”，它不是一部靠强情节推进的作品，而是通过内心的波澜，青春期荷尔蒙的躁动，传递着真实又蓬勃的情绪变化。

很喜欢瓜导的作品风格，《请以你的名字呼唤我》更是我的“人生电影”之一，可以说《本色》延续着cmbyn的美学风格，这部“后cmbyn作品“，有一种平行空间的雷同宿命感。

Fraser敏感又真实，活在自己的精神世界之中，特立独行且分外可爱。他冷眼旁观着朋友与世界，敏锐地捕捉着万事万物的本质，他也如此直面自己的爱。Jonathan是迷人且性感的，虽然他的戏份有限，俩人间的互动也不多，但俩人的情感线，是这部作品的高光时刻。

在野外间的亲昵，包括Jonathan抢走Fraser口中的野草，又含在嘴中，是如此的暧昧且甜蜜，仿佛让每个人心中的小鹿，都开始乱撞起来。Fraser偷偷写下纸条，放进Jonathan的书中，也是每个人少年情事的一种映射与共鸣，这不就是我嘛？！在酒吧间，似乎马上就要情感更近一步的时候，意外出现了闯入者，虽然依旧是快乐的、摇滚的、美好的，却还是有那么一丝丝不完美。我暗暗猜测，如果没有闯入者，会不会有很多真实且野性的原始欲望可以蓬勃起来。

第一集和第二集的讲述手法，个人还是很喜欢的，一段时间中，俩人不同的视角，展示青春的懵懂与无知，也是俩人友谊升温的开始。我甚至想，如果有第二季，能否满足Fraser与Jonathan在一段感情中，俩人不同视角的情感认知，也许会更有趣，也是另一种情感共鸣。

好像一部作品，从头到尾，人物就是要成长的。可我觉得Fraser是个例外，他成长了吗？不见得，因为他已经如此敏锐且早慧，他似乎不需要成长，只是少年经历了情事，对于爱情的认识更丰富也更复杂了。真正担当成长作用的，是Harper，她是在发现真实自己的过程中，完成自我成长。

对于这部“情绪作品”，它传递的情绪如此丰满且到位，已经非常很棒了。也是时候找个时间要把瓜导的作品，都要细细品味一番了。记得之前看《我是爱》，就非常喜欢。

为什么妈妈在工作场合脱光衣服？为什么儿子突然打妈妈但妈妈不当回事？为什么爸爸突然骂女儿下一刻又跟女儿和睦相处？为什么青少年们像木偶一样一会儿在泳池玩耍一会儿在客厅播放流行乐赤裸身体轻吻做爱？为什么在酒吧突然就有女孩追求一个性别认同不明的女孩？为什么大兵被小男孩追求不觉得被骚扰还反过来让他跟女友来threesome？为什么小男孩表达愤怒的方式是突然回去开冰箱不关门喝一瓶酒睡地上？为什么男生一不开心就砸柱子，女生一不开心就推钢琴砸破玻璃？在这部片子，性别和取向，plot 和 boundary 都不存在，但这不自由，没有内在，只是 lazy writing 而已，结果就是这些 nonsense。下一步可以让一个青少年勾引一头熊，或者一条狗。和 cmbyn 改编电影有相似的缺点：青少年一听音乐就异常高兴跟着唱，好像找到了青春主题歌；男主角总是像大姨妈一样恼怒地把床摇得吱吱响但是不说原因。

另：大兵怎么看都是 20 岁出头，演员也是 25 左右，绝对没有“30岁”。

I initially give this series three stars. However, to some extent, some part of this young man's life is what I long for.

Still that Luca Guadagnino, in that Italy. There are too many nearly identical items calling your memory back to that summer in CMBYN. The lens is beautiful, the music is just in the way that needs. It's just another story that happened simultaneously there but too different.

From the very beginning, I was hoping for a love story of two men, Fraser and the major. It was such a disappointment for me when I didn't see much of this storyline. And I even feel bored somehow, because what those young people do is just a puzzle to me. I have never been in that kind of environment. I don’t know but the relationship between the main character’s family is quite weird. He slaps his mother's face, shouts at her, and pulls her hair. There is literally no backstory to explain this. The boy is so fucking rich and no fucking behaviours and as the commander of the base, her mother seems to have nothing to do with her own child. He is extremely cringed the whole time. As for me, in no circumstance, I'll deliberately leave the refrigerator's door open. Other actors sometimes do things with no reason. SO WEIRD!!!

But I know ultimately, it is just not my life. It's a big world. Different people express their feelings in a completely different way. Luca just magnifies those emotions dramatically with carefully chosen music.

I doubted whether it's necessary to make this series so long as it could be done as another movie. But I don't blame the length of it. It just happens spontaneously without any interfere. You may never reach that level in reality. The fictional drama gives you the ability to wonder the value of your life, the things you have never thought in real life. The freedom of a young adolescent that some may blame for the wildness. Who doesn’t want to spend a stupid night as Fraser does with Jonathan?

The families of Cait (or Harper) and Fraser are chaotic, really. But they are definitely not basic. There are too many compromises and issues that lying too long and unsolvable. Like Jenny says, "I forget who I am". After all those years, it's really hard to be who you are in the uncertainty those years. At last, I don't think it's hard to image why Fraser is so eccentric.

I have to say the last episode is the most peaceful and cheerful, while the kiss between Cait and Fraser is beyond expected. Without the restrain of their families, the literally can be who they are. They laugh. They kiss every several arches. They run on the road, between those Italian colourful walls. They are rude to the strangers on the road. They truly let the birds kept in their minds so long fly. The emotions are so delicate and sometimes fragile as the way they deal with the death of their friend.

To me, especially the time amid a world pandemic, the show is a delight. We are in uncertainty right now, to the U.S. but also the world. It's the back theme of the series back in 2016. Who knows things don't get any better till today. I am sure everyone must wanna try something different beyond the general moral code. But for most, I included, there are too many need to be considered. I don't know. But someday, I must give it a go.

May there be peace in our world.

Also published on my blog.

by 姚异姚Yao1Yao

Why do you read poetry?

(take three seconds to think about it)...

In HBO’s newest coming-of-age series, We Are Who We Are (WRWWR), this very same question is asked of 14-year-old protagonist Fraser Wilson, by fellow protagonist Caitlyn “Harper” Poythress. The pair share a complicated relationship in the show, by auteur Luca Guadagnino (of Call Me By Your Name).

(Warning: mild spoilers of WAWWR below, although this may not have an impact on your appreciation of the show)

Fraser answers: “Same reason I hate your clothing. It’s fast fashion. You buy something that you think you’ll like, and in two months it ends up in the garbage. I’m looking for stuff that means something.”

He continues: “And the same goes for poetry. Every word means something.”

Fraser says so while he’s holding the collection of poetry Night Sky With Exit Wounds by Ocean Vuong, he has also read the first few lines of the opening poem of this book —Threshold.

Threshold

入口

In the body, where everything has a price,

I was a beggar. On my knees,

在身体里，一切的一切都有标价，

我曾是个乞丐。 双膝跪下

I watched, through the keyhole, not

the man showering, but the rain

透过锁眼，我看到的，不是

在冲澡的男人，而是

falling through him: guitar strings snapping

over his globed shoulders.

落在他身上的雨：一根根吉他弦

在他浑圆的肩膀上折断。

He was singing, which is why

I remember it. His voice --

他当时在唱歌，所以

我记得。他的声音 —

it filled me to the core

like a skeleton. Even my name

让我的内核

如一具骨架般充实。连我的名字

knelt down inside me, asking

to be spared.

也在我体内跪下，央求我

将它饶过。

He was singing. It is all I remember.

For in the body, where everything has a price,

他当时在唱歌。我只记得他在唱歌。

唱着身体里，一切的一切都有标价。

I was alive. I didn't know

there was a better reason.

我活着。我不知道

除此之外还有什么原因。

That one morning, my father would stop

--a dark colt paused in downpour--

那天早晨，如果父亲停下来

— 一匹深色马驹在大雨中驻足 —

& listen for my clutched breath

behind the door. I didn't know the cost

他会听到我在门后

紧屏的呼吸。我那时并不知

of entering a song--was to lose

your way back.

进入一首歌 -会让我

再无退路。

So I entered. So I lost.

I lost it all with my eyes

于是我进去了。于是我迷失了。

我大睁着双眼

wide open.

完全迷失了。

（Translation: 姚异姚Yao1Yao)

We cannot ignore the intentional timing of this week's finale: the setting of 2016 alongside the backdrop of the jaw-dropping US presidential election results echoes with the drama of 2020. Also, we cannot ignore that the poetry of Ocean Vuong as a symbol in the show plays a significant role.

WRWWR is an ambitious TV production debut, the Italian film director, who shows special interests in adolescence, delivers a much more complicated reality world, as well as the mind state of a bundle of teenagers in this long-form medium.

This time, along with his celebrated lyrical filmography, Guadagnino didn't do the same as he did in CMBYN, but, quoted from the director, instead presented ‘’not plots, but behaviors’’, much alike Ocean Vuong’s poetry——using words to delineate behaviors (sometimes even how Fraser talks is very similar to Vuong’s signature enjambments!).

Now, let’s look at Fraser’s choice of literature, Night Sky With Exit Wounds, and the first poem in this book. From the absence of the father image and the vivid slogan “I love daddy” on the T-shirt of childhood Ocean Vuong on the cover to the father role as a peeped object (and this persona appears many times), the father figure is a crucial motif for the entire work.

Then why Threshold? What’s the motive of the behavior of reciting Threshold? In addition, considering the setting of a military base and death caused by the war in this series, combined with the knowledge that Vuong himself was a war child who immigrated to the US……bang, an idea hit me, I want to hazard this poem as a codebook for cracking the intention of the creator.

It’s apparent that the protagonists are on their journey of exploring their sexuality (a great part of their identities), they are trying to figure out who they are and what they want (leading to the title WRWWR), and with Ocean Vuong as an emerging LGBT poet icon, there will be no better choice of harnessing his work when discussing the constantly-shifting inclinations of Generation Z. In this sense, the imagery of the poetry mentioned above can now be seen as having both figurative and metaphorical meanings.

At the backdoor of the classroom, Fraser meets Caitlin- here the door is like the threshold, the threshold of the stage in the life of reckoning his blurry sexuality and the pursuit of a meaningful relationship with someone akin;

Plus, a quirky person like Fraser, whose nails are painted yellow and black, wearing extravagant oversize garments, who also had an imaginary romance with the same-sex, he is also a war child, he’s in the middle of the rebellion against his biological mother, the chief commander of the base;

And of course, the father figure is absent in Fraser’s life (his mom is married to another woman and has never talked about his biological father).

What’s more (albeit a bold interpretation), for these overseas military families, with their country at the threshold of Trump’s presidency, isn't it like a father figure that they can’t attain to?

So, what’s the value of the use of Vuong’s poetry in the series? For me, pretty much like the answer of Fraser’s- it represents a meaningful world.

by 姚异姚Yao1Yao

刚开始，在他略显，不，应该说极度松散的镜头中，We Are Who We Are开始，并延续了很久，这很像他一贯的风格，Luca似乎不急于讲一个故事，只是你碰巧经过，穿过了一片正在发生的生活片段。我也奇怪地没有无聊到想换台，只是舒服地躺在他编织出来的这个海平面上，飘荡。

之后的情景似乎有所推进，他似乎在一种想诉说个大的裂痕，又继续沉迷于生活的细枝末节，欲言又止中来回试探。在某几分钟，我真想说，够了! Luca Guadagnino！够了！你的场景铺陈，声音交响曲，够了！你的诗集、music kids，够了！你的聚会散去，一地狼藉的青春美妙，景物陈设，够了！你的主角动不动就以亲吻、拥抱结束琐碎场景，哪里有我们熟知的美国爽朗和英式矜持。然而，只是继续跟随，所有的大裂痕在给你展现一瞬间后，下一秒就如残酷的生活，跳到了下一个篇章，连痛苦都不给你深挖，不让你舔舐。主角所有的伤痕只在黑暗中的眼睛里一闪而过，接着是席卷而来的下一天，明媚阳光，其他人的悲欢离合，那个黑暗中的自己早被抛到记忆够不到的地方。每个人都在某一瞬间奋力反抗，于是有那么些失衡爆发的时刻，但更多的时候，是泥泞又粘稠的生活，拖起一只脚，再拖起另一只脚，已经站在下一个路口。

你可以诟病Luca那种过度渲染的青春肉体、无机无厘，泛滥的MTV 青春镜头，但是随着we are who we are的展开，我又不得不佩服，恍然觉得过去所有讲述青春的导演都是伪装者。每一个人都是在青春期过去之后，已经忘记青春，在拍着自以为，记忆过滤过的，以为别人认为的青春，恰恰证明了他们是多么地在青春以外的地方，在给青春塑像。然而，Luca Guadagnino，俨然就是青春的中心，还在历历经受，迷茫、彷徨、敏感在乎。最重要的是，他没有忘记那个会被很多人忘记的青春的核心，在迷茫自我是谁，试图建立自我的时候，每一个少年是那么在乎group，所以才有剧中那些少年之间的dynamic，在group中很快消失的自我。

所有成人世界的残酷和黑暗都已经从幼儿这座暖房的窗户裂缝呼啸而入，成人假装没有看到，少年在四面漏风的房子里默默承受。又或者说，每一个少年都已完备成人所有的感知和智慧，而是成人在一次次磨砺中钝化了自己的感知而保护自己。青少年是以最真切最柔嫩的心接触世界，所有的经历都更加纯粹、血淋淋。爱与恨更加鲜明直接。虽然在we are who we are剧中几乎找不到标准的成年人，没有鲜明的成年与青春的对立。毕竟剧里的几对父母又何曾只是刻板意义上的父母，在一大群孩子松散和“胡作非为”中，每一个人都是参与者，成年的角色只是在外围跳舞，时不时地被舞池中青春镜头扫到。他们似乎也只是晚发育的成年人，在自己的故事线中探索边界。

虽然在Luca塑造的幻境中，很容易涣散在起起伏伏的生活细浪里，但那些闪光时刻是会在毫无防备下一下将你抛到海浪之上，之高，几乎接近刺眼的阳光。比如Brit在钢琴边开始边唱边弹的那一曲，真是天外之物。

注意：以下内容完全主观臆断男主女主线（轻喷） 一天刷完了这部剧，第一次写剧评，觉得是非常好的一部剧看完想法很多，说它好首先是它拍得真的很美，夏日，沙滩，悸动，懵懂，青少年（少年感很真实而且jack真的很好看造型行为很有个性很吸睛）…还有很多不错的音乐，其次个人认为看完才能懂这部片子似乎是在引导那些为了迎合他人口味改变自己或者被标签化的人以引导去做真实的自己也就是本色。

我觉得评分不高是因为这部片子没有那么多心理描写，也没有那么多明示，我们一直是旁观者的角度听着看着他们发生的事，但是却没有清晰的确定。很容易就会觉得无聊像是漫长的vlog看的云里雾里，似乎导演并不想让观众看清角色们的真实想法，而是每个人物关系和他们的取向十分朦胧不清晰的让人加以遐想带着迷惑和好奇进入剧情。或者这个片子就是想让人们不要标签化不要对剧情人物都加以判定？（猜的）

说点个人对主角感情的猜测（划重点：以下只是猜测！）

我觉得男主最开始在青春期的性向模糊但是有点偏向男同的感觉，家庭缺少引导很迷惘，男主因为女主读诗吸引了他，（大兵爱读书而吸引了他），女主因为男主特殊的外在和与众不同的气息而互相吸引在一起成为朋友。

只是男主最后才发现他是喜欢女主的（他是对大兵有好感的但是后来还是在大兵的诱惑下逃走了，似乎是对自己的认知尝试，发现不是自己想要的），而女主应该是先喜欢男主的。 她一开始通过和男主讲她分手了和讲她的朋友怎么评价他们俩：“他们认为咱们两个在dating”来看男主的反应，但男主的反应并不认同，后来女主发现男主喜欢男的，女主尝试也去喜欢同性见亲那个约她的女孩但是又放弃了和那个女生相处，女主剪掉头发贴假胡子看激素注射方式似乎都是想让自己变成男的，或许这样男主才会因为自己是男的而喜欢自己？而且女主经常望向男主的窗户… 后来他们去看演唱会发现男主还是和男生在一起更快乐而忘了自己而失落，似乎因为自己不是男的而无法被男主喜欢，当卖酒的女生问她“你是跨性别者吗”她才觉得自己因为想让男主喜欢自己已经变得不是自己了，所以她去卫生间把脸上的假胡子洗干净，提前离开演唱会想逃避这段感情，可男主被小男孩问“你没有想分享美好的人吗（大致意思）”他愣住了，男主心里可能发现唯一想分享的只有女主，他是喜欢女主的，所以他才追到火车站去找女主带她一路跑着去看那个小男孩说的最好看的景色，最后女主男主都发现他们都是喜欢彼此的。就是女主前男友和女主说的“soulmate”

这部剧给人的感觉就是流动的性向，青春期懵懂对自己的取向和自己是什么样的人加以试探，男主试探了自己与大兵的关系，女主试探了自己和约自己的女生的关系，都在尝试中更加认知自己真实的本色。最后才发现彼此才是soulmate。

人们都没有特定的标签没有特定的取向，女生会亲女生，男生会亲男生，男生女生也亲吻，大概诠释的意思就是一句“没有性向，只有心之所向”，不要成为标签，不要被标签锁住，也不要为了成为别人心中喜欢的样子变成不是自己的样子，保持本色做自己，个人觉得是这部剧的中心意思。

第三集是目前为止最棒的一集应该没有任何疑问了吧？！这集的构图还有摄影简直是行云流水，让我感觉毫不费力导演信手拈来就成精品！这就是导演的功力吧！ 通过第三集，我们几乎对所有人物都有了更进一步的了解。导演用各种暗示将两位主人公对于xing及xing取向的疑惑暴露在大家面前：男主在图书馆遇到大兵并在得知大兵也爱诗（也是文艺男孩）并且知道自己名字后展现出的小欢喜无疑是导演在对喊，看他的小确幸！暗恋没跑了…在此必须跨杰克真是小小年纪前途无量，演的太自然不做作了，真好。还有两人对一位变性人的关注，从各自眼神可以看出男主是在探索性，而女主是向往，接着就是女主对胡子的着魔，更进一步展现她的百合心以荡漾！还有两人在游行时经过一座桥是大量了一个女生，可以说是导演明示了。导演没有直接让男主回答在他被女主哥哥欺负时提到的奇怪感觉，我猜测应该是有了性反应，或者是内心极度欢喜，不过我还是倾向于前者。所以两人心心相惜，根本原因还是因为内心都在向往同性。缘，及如此。 再来看男主和他妈妈 相信很多人对于他们的关系很好奇！为何男主如此对他妈，他妈竟然不管，任此发展！我不解了两集，在第三集貌似想明白为何了。 男主其实内心已经七八成确定自己是同了，但是还是不敢确认，并且内心抵触，因为生在同性家庭，自己再是同，面子上太不好过！但是对于的同性的渴望，又让他无可奈何，只能将一腔怒火撒向生养了他的妈妈，怨她为何要爱上女人，为何要不给他一个正常的家庭那样的话他就可以光明正大的做自己，而母亲，看前三集来说，是有点大条的，并且对儿子很温柔，所以很多越规定事都视而不见了，不知道是因为性情还是内疚。不过貌似妈妈很喜欢挑衅儿子，相爱相杀啊… 看到很多人说男主有病？性格很差？ 我觉得男主小小年纪对自己身体和性有很多困惑，剧集也用非常多的细节佐证了这点。并不能说是因为他有病，只是很多事情憋在心里，自己搞不明白，所以向外发泄出来了。

《请以你的名字呼唤我》（Call Me by Your Name，以下简称《呼唤》）和《本色》（We Are Who We Are）的两位主角都是17岁的卷发少年，看来导演有他的类型。

刚刚长出小胡须不久，都有对镜刮须的镜头，用以表现人物的年龄和稚嫩。《本色》更侧重于人物对自身的认同障碍和迷茫，这里Fraser的母亲之一来帮助他，给他提了一些小建议。《呼唤》中的Elio就显得孤独许多。

Elio出身书香门第，本身相当于是个音乐少年天才，经常用李斯特的方式演绎巴赫，或以布索尼的方式演绎李斯特。他所处的环境，父母的包容，尤其是父亲临到电影结束之前的一段话，都如同仙境一般，美好得不像是真实生活。

而Fraser是美军基地的孩子，内向害羞，与母亲的关系不像Elio那样美好，非常叛逆、略带扭曲，但却非常贴近生活，就像邻居家的青少年一样。因为剧集时间充裕，看来导演会慢慢铺垫，描写这一群青少年的心理和感情变化。

在电影中，奥利佛问Elio，“So what do you do around here?“；剧集中Fraser与Britney在海滩漫步时也有类似的问话。甚至第一集的最后一句台词，”So, what should I call you?”，都似乎与电影（Call me by your name）遥相呼应，相映成趣。

Fraser迷失在小镇里，陌生人送上水的情节，也很容易让人想起奥利佛和Elio的经历来。

在音乐的选择上，电影《呼唤》中大量应用了古典或经典的钢琴曲；而《本色》则象其他青少年剧集一样，以流行歌曲为主，表现人物的躁动与不安。导演对坂本龙一和John Adams格外青眼有加。两部作品都用了坂本的音乐，在电影《呼唤》中甚至用了两次。

We Are Who We Are第一季第一集歌单

Right here, right now #1

I Was Looking at the Ceiling and Then I Saw the Sky: Ensemble / AUDRA MCDONALD, DARIUS DE HAAS, JOHN ADAMS, MARIN MAZZIE, MICHAEL MCELROY, RICHARD MUENZ【开场】

Actin Crazy / ACTION BRONSON【Fraser误入基地的男浴室，大量男性正面全裸镜头】

The Love We Make / PRINCE【Fraser坐在海滩上，Britney叫他离开】

Sayonara / RYUICHI SAKAMOTO【坂本龙一】

Devil In a New Dress (feat. Rick Ross) / KANYE WEST【Fraser怒冲冲离开海滩后在小镇迷路】

A Lei / ANNA OXA【收音机里放的歌，Fraser边喝红酒边跟着跳舞】

Same Drugs / CHANCE THE RAPPER【Fraser在暗处看着自己手机上Caitlin的照片】

Champagne Coast / BLOOD ORANGE【Fraser骑着单车在基地晃来晃去】

Three Weeks and I'm Still Outta My Mind / JOHN ADAMS【结束】

Call Me by Your Name歌单

（边看《本色》以后各集边对比）

Hallelujah Junction – 1st movement – / JOHN ADAMS【开场；Elio从阳台上远远看着奥利佛时重复】

M.A.Y. in the Backyard / RYUICHI SAKAMOTO【坂本龙一。Elio带着奥利佛在镇子上逛；镜子前剃须时重复】

J'adore Venise / LOREDANA BERTÈ【Elio与奥利佛去酒吧，坐下打牌；最后火车站送别时重复】

Paris Latino / BANDOLERO【Elio和朋友们看奥利佛打排球，之后奥利佛过来给Elio按摩肩膀】

Sonatine Bureaucratique / FRANK GLAZER【Elio给家人弹钢琴，奥利佛不同泳裤的特定】

Capriccio in B-flat major, BWV 992 [IV: Postilion's Aria: Allegro Poco] / JOHANN SEBASTIAN BACH【在奥利佛的请求下Elio的弹奏】

“Zion hört die Wächter singen” from Cantata BWV 140 “Wachet auf, ruft uns die Stimme” / ALESSIO BAX【Elio在日记中记下他与奥利佛的互动】

Lady Lady Lady / GIORGIO MORODER, JOE ESPOSITO【夜舞会，Elio不无嫉妒地在旁边看着奥利佛与Chiara共舞】

Love My Way / THE PSYCHEDELIC FURS【夜舞会两人跳舞；重复在后来Bergamo的街头与陌生女人共舞】

Phrygian Gates / RALPH VAN RAAT【爸爸带着两人去Sirmione的文物打捞现场】

Futile Devices (Doveman Remix) / SUFJAN STEVENS【Elio一直在等奥利佛晚上回家，后者回来后直接回房睡了，失望】

Une barque sur l’océan from Miroirs / ANDRE LAPLANTE【纪念碑处Elio给奥利佛讲一战时的Piave战役】

Hallelujah Junction: 2nd Movement / ROLF HIND, NICOLAS HODGES【Elio经过奥利佛的窗子，发现他在盯着自己】

Germination / RYUICHI SAKAMOTO【坂本龙一。Elio给奥利佛写了小纸条，塞到门下】

China Gates / ORLI SHAHAM【爸爸和奥利佛一起给图片分类，Elio发现了回信】

Words / F.R. DAVID【阁楼上Elio和Marzia在一起】

È la vita / MARCO ARMANI【阁楼Elio自己破坏桃子】

Radio Varsavia / FRANCO BATTIATO【还是桃子的戏，还是Elio一个人】

Mystery of Love / SUFJAN STEVENS【本片的主题歌。Elio和奥利佛一同离开，两人在山间远足】

Le jardin féerique from Ma mère l'Oye / VALERIA SZERVÁNSZKY, RONALD CAVAYE【结尾前爸爸的长独白】

Drei Klavierstucke, Op. 11: No. 1. Mässig / ARNOLD SCHOENBERG, DI WU【Elio边听边记谱】

Visions of Gideon / SUFJAN STEVENS【两人第一次做爱；结尾Elio流泪的长镜头】