Call Me, directed by Luca Guadagnino, has been on a lot of awards-season shortlists since even before its world premiere at Sundance.
Set in 1983, the adaptation of André Aciman’s novel tells the story of burgeoning romance in a 17th century Italian villa.
I understand that Pulse Films secured access to the UN last week and the company, which has produced television series including History’s The New Age of Terror and BBC race doc Black Is The New Black as well as feature docs such as Sundance entry Trophy, is set to take the project out to U.
S and UK broadcasters and streaming services in the New Year.
“Centuries ago, mankind found a way to transfer consciousness into a new body, making death a mere inconvenience,” a soothing voice intones, as images of bodies with horizontal slits carved elegantly into the napes of their neck stand against glowing white backdrops.
“Since then, we’ve been providing an unparalleled pedigree of human sleeves to only the most discerning clientele.” What begins as a calming glimpse into a future where cheating death is easy enough (assuming one has the wealth to transcend their mortal state) quickly descends into darkness, with quick cuts offering a look at a futuristic New York City, fluorescent lights on grimy city streets, an immaculately dressed bartender sipping a drink with one hand and casually holding a rifle in the other, and other assorted forms of gunplay and explosions aplenty.
Briggs must confront his estranged sister and deal with the past, while fighting to protect his future and the new life he has rebuilt for himself.