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Find Me, the Call Me By Your Name sequel, is tender, melancholy, and deeply flawed

In André Aciman’s new novel, Elio and Oliver reunite at last. Eventually.

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Call Me By Your Name is a book that throbs with desire. André Aciman’s 2007 novel (and the basis for the 2017 film of the same title ) is a portrait of adolescent love and lust, experienced for the first time with an intensity that’s almost frightening in how all-consuming it feels. And Aciman devotes himself to chronicling every fleeting fantasy, every caress, with a fervor that matches what his characters are feeling.

Find Me , Aciman’s new sequel to Call Me By Your Name , is gentler and more melancholy than its predecessor. It’s not about first love but about true love, and specifically true love that is marred by lives lived out of sync. It’s about loving someone at exactly the wrong moment in time and finding your way through everything that follows regardless.

Elio and Oliver, the lovers from Call Me By Your Name , are the couple at the heart of Find Me , just as they were the heart of the earlier book. Their connection was both first love and true love, and the fact that their parting was a matter of timing is what gives Find Me its thematic weight: Their romance came at the wrong time — Elio was 17 and Oliver 24, and shortly after they said goodbye Oliver decided to marry a woman — and now both of them are living with the consequences.

But it takes a long time for Aciman to find his way back to Elio and Oliver. Find Me is a four-act book, and the first and longest act — set 10 years after the events of Call Me By Your Name — is about Elio’s father Samuel and his budding romance with a woman named Miranda who is half his age. Elio takes over as the point-of-view character in the second act after a five-year time jump, and Oliver in the third after another time jump. However, it’s not until the fourth act that the two lovers are finally reunited.

That delay is effective at building tension. But it’s also frustrating, because it means we spend a lot of time with Samuel and Miranda as Aciman hammers home his chosen themes. And Samuel and Miranda are not particularly interesting characters.

Almost all of Aciman’s characters talk like horny philosophy textbooks. Sometimes it works better than others.

Samuel and Miranda spend most of their time on the page together navigating the age gap between them, and it’s clear that for Aciman, that gap is not incidental. It’s a key to the theme of Find Me : Samuel and Miranda have met each other at the wrong moment in time, because for most of Samuel’s life, Miranda either was not born or was too young, and so although they were meant for one another their circumstances kept them apart, and now they will have only the end of Samuel’s life together.

It’s a romantic notion, and Aciman writes it in his most exalted, lyrical prose, letting his characters pile one destiny-driven vow on top of another in cascading sentences: “There will be no sorrow from me, and none from you,” Samuel tells Miranda, “because you’ll know as I’ll know that whatever time you’ve given me, my entire life, from childhood, school years, university, my years as a professor, a writer, and all the rest that happened was all leading up to you.”

But the age difference between them also means Aciman is doubling down on the age gap between Elio and Oliver in Call Me By Your Name , which was significant enough to cause a controversy during the film adaptation’s Oscar campaign. And the age difference feels all the more pointed in Find Me , because where Elio and Oliver were fully distinct characters with coherent psychologies and opposing points of view, Miranda and Samuel exist only as shallow outlines: Samuel represents wise and cosmopolitan age and Miranda is his perfect reflection in a young and vigorous body. That is the dynamic that Aciman seems interested in to the exclusion of all else, and the second time he writes it, it’s less convincing than the first.

Because Samuel and Miranda aren’t real characters, when they settle into the quasi-symposium that in Aciman’s worldview is the natural prelude to sex, their rapport doesn’t quite ring true. Which is surprising, because usually those symposiums work for Aciman even when they shouldn’t.

Nearly all of Aciman’s characters speak in philosophical paragraphs that aren’t meant to resemble normal human speech patterns so much as create an opportunity for Aciman to throw ideas around: In Aciman’s novels, discourse is what creates the possibility for sex, so sex is always both preceded and followed by debates about eros and art and the body.

And Aciman generally writes those debates with an endearing disregard for the rules of psychological realism like “show don’t tell.” With the occasional exception of Oliver, all of Aciman’s characters know exactly how they feel at any given moment and are more than happy to explain it to one another in exacting, precise detail. Those explanations rarely feel realistic, but when Oliver and Elio were delivering them to each other in both Call Me By Your Name and toward the end of Find Me , they were so drenched in emotion that I was more than willing to go along for the ride.

But the emotion never quite comes through with Samuel and Miranda, because Aciman hasn’t made the effort to turn them into more than flat types. As a result, their symposiums feel like just that: symposiums, without the undercurrent of love and desire and fear that made Elio and Oliver’s symposiums so compelling.

Things improve slightly in Find Me ’s second act, when Elio takes center stage as the point-of-view character, bringing with him an air of self-deprecation that goes a long way toward making all of his speechifying palatable. He’s now in his 30s, and in a continuation of the age difference theme, he’s falling in love with a man who is twice his age.

Elio’s new partner is named Michel, and he is the only person in Elio’s life who can compare to Oliver: “There’s only been the two of you,” Elio tells Michel. “All the others were occasionals. You have given me days that justify the years I’ve been without him.” Both Michel and Elio know that Oliver is Elio’s true love, but in the 15 years since Call Me By Your Name , Elio has been able to live his life openly and unapologetically enough to find a runner-up second love.

Oliver, who finally makes his first appearance in the third act, has not been so lucky. Because he chose to reject Elio and with Elio his true self, he hasn’t been able to make an authentic connection with anyone since their parting 20 years ago. He is amicable with his wife because they make a good team, and he half-heartedly pursues trysts with friends of both genders. But when a house guest plays for him the same piano piece that Elio played for him in Call Me By Your Name , Oliver is overcome with memories of Elio. “I knew,” he thinks, “that some arcane and beguiling wording was being spoken about what my life had been, and might still be, or might never be, and that the choice rested on the keyboard itself and me.”

It’s in Oliver’s storyline that Find Me delivers its most achingly lovely passages, because Oliver is the only one of Aciman’s characters who is capable of self-deception, who does not always know immediately and instinctively which of his feelings to trust and how to give voice to them. That makes Oliver’s arc a tragedy, but it also means that only in his narration are multiple layers of emotion allowed to exist and mingle moodily on the page together.

It takes until the novel’s fourth and final act for Oliver and Elio to finally meet on the page in a tender, lyrical epilogue that is the culmination of all the meditation on wasted time that came before. Since all Aciman’s readers really want is to see Oliver and Elio together again, all that came before this reunion made for a frustrating and occasionally clumsy wait — but the payoff makes you feel every bit of the years of separation both characters had to live through, waiting for their lives to sync up once again.

And as the pair comes together, Aciman’s prose is no longer filled with the all-consuming passion that animated Call Me By Your Name . Instead, he narrates their encounter with a sweetness and tentativeness that fits this gentle, melancholy book.

“Time,” says Oliver, and Elio understands “that what he’d meant was that too much time had gone by.” But soon, Elio realizes that “despite two decades we were not a day older than the two young men we’d been so long ago.”

What makes Find Me work, when it does work, is that it allows you to feel both of those concepts at once: Time goes by, terrible and insurmountable — and also it doesn’t matter at all.

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Oliver and Elio Are Back

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By Josh Duboff

• Published Oct. 25, 2019 Updated Oct. 28, 2019

FIND ME By André Aciman

It is very difficult for any sequel to please everyone, the devotees of the original all clamoring for their various fantasies for the central characters. And this challenge is only compounded when that original has been adapted into a hugely successful film, the sort that spawns a flood of think pieces, viral memes and illustrated tributes.

Such is certainly the case for the sequel to André Aciman’s 2007 novel, “Call Me by Your Name,” the source material for the Oscar-nominated 2017 Luca Guadagnino film, which starred Timothée Chalamet falling for Armie Hammer in the lush Italian countryside and inspired a new wave of readership for the decade-old novel. (Feel free to Google “Elio and Oliver peach scene” to get a sense of the obsession.)

The structure of Aciman’s sequel, “Find Me,” is likely to disappoint those who’ve been eagerly waiting to find out what has become of Elio, the earnest teenage piano prodigy, and his summer guest, Oliver, an older, strapping American philosophy student of his father’s. The first half of the new book concerns neither of these two lovers, and is told entirely from the perspective of Elio’s now-divorced father, Samuel, as he finds himself infatuated with a much younger woman he meets on a train.

Aciman has already demonstrated his skill at portraying the terrifying and overwhelming experience of a romantic crush — the lust and violence and unease of it all — and this first section reminded me of a different European-set film, “Before Sunrise,” as Miranda and Sami wander around Rome deep in conversation, sharing stories and secrets. But even with the discomforting dynamic of their age difference, it’s hard to read this section without feeling impatient for our leading men to take the stage.

As for Elio and Oliver: The book’s second half picks up 15 years after we left them, each narrating his own section in the first person. Given the intensity of their past-life romance, it’s surprising that Aciman decides to keep the two separated for almost the entire novel: Elio living in Paris and embarking on a relationship with a sensitive and much older Frenchman, Oliver toiling away in New York City, unhappily married to a woman, with whom he has two sons.

Will Elio and Oliver eventually find their way back to each other? Or are they destined never to cross paths again, forever pining over the long-ago bond that bled one’s identity into the other’s? In Oliver’s words, “Waiting up is what we’ve done all our lives, waiting up allows me to stand here … at my end of our planet … for all I want is to think of you, and sometimes I don’t know who’s the one thinking, you or I.” His melodramatic anguish is echoed in Aciman’s swing at an emotionally satisfying conclusion.

“Call Me by Your Name,” the bulk of which takes place over the course of a few summer weeks, offered a visceral depiction of the all-encompassing and transformative properties of falling in love. “Find Me,” by contrast, turns its focus on the comedown, the second acts. It is a lyrical meditation on being forced to move to another location after the party’s over, on the Sisyphean task of trying to replicate the magic of young passion. “We’re not going to feed off the past, are we?” Oliver asks toward the end of the novel, and this question can almost be read as Aciman’s meta-commentary on the existence of “Find Me” itself. As much as we all may have craved 300 more pages of vivid descriptions of Oliver and Elio, together once more and vacillating between the throes of lust and torment, instead we are given a book that explores what can happen when your life gets away from you, when you realize just how much time you’ve wasted. It may not make for the stuff of glistening cinema, but it strikes an affectingly melancholy chord.

Josh Duboff is a writer and screenwriter. He was previously a senior writer at Vanity Fair.

FIND ME By André Aciman 260 pp. Farrar, Straus & Giroux. $27.

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Andre aciman’s ‘call me by your name’ sequel ‘find me’: book review.

THR review: Andre Aciman’s 'Call Me by Your Name’ Sequel ‘Find Me,’ follow-up to the beloved queer romance (adapted into an Oscar-winning film in 2017), picks up more than a decade after the events of the first novel.

By Kevin Sessums

Kevin Sessums

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How to begin when you have already experienced an ending? 

That was the question I asked myself when confronted with the imperative sentence that is the title of Andre Aciman’s follow-up novel — OK, sequel — to his best-selling Call Me by Your Name (2007). The preening appreciation of many Call Me by Your Name readers borders on the cult-like, and they have for months expressed a mixture of measured anticipation and possessive concern that this sequel, Find Me , will, in fact, find them disappointed by the continuation of the first novel’s story about the affair between a 17-year-old boy and a young man of 24. That affair allowed Aciman to preen a bit himself with his knowledge of Greek literature and philosophy and music, as well as the enticing geography of both the verdant northern regions of Italy and the virile southern regions of the male body. He also got to write about a peach.

The acclaimed 2017 film based on Call Me by Your Name was, to me, an improvement on the source material. The keen-eyed screenwriter James Ivory rightfully won an Oscar for gleaning a more stringent strain of love story from the gloss-and-dross of Aciman’s prose, which has a geography all its own filled with isthmuses of metaphors and olive groves of allusions with alas neither an inland nor an inside leg left for irony.

That much-needed irony, even a whiff of ennobling wit, was found in the lovely performances of Timothée Chalamet as Elio and Michael Stuhlbarg as his father, Samuel, a deeply empathetic archeology professor — as well as Armie Hammer as Oliver, Samuel’s graduate assistant, who visits the family at their Italian compound that enchanted summer and not only reshapes their lives, but also, ultimately, it seems, their very concept of time. 

That’s a whole lot of reshaping to shove into the mighty allure of one character. But just as Hammer transcended what was, to my eye, his miscasting, Aciman’s prose transcends its own grand neediness for knowledge and all that knowledge cannot know when distilled into another imperative sentence issued as an unspoken, unwritten admonition from both books: the Delphic maxim, “Know Thyself.” Elio and Oliver indeed know themselves more deeply for having known and loved each other.

Luca Guadagnino, the director of the film, found a way to navigate the story with a swooning kind of poise that eludes Aciman, with all his swanning and swerving. In Find Me , the author is still flaunting that way he has found to allow a story to occur in the temporal musings that swarm the mind — delighted by its own education and erudition — rather than in linear time’s own stricter, less bemused demands. Yet I sometimes find the swanning and swerving more maddening than masterly. I often long to stop it in its expensively shod tracks in order to scrape the academic mud from the Wellingtons in which Aciman strikes a pose, for example, in this sequel’s second section. That stretch of the novel strands us in the French countryside with Elio, who now teaches piano in Paris about 15 years after the first book began, and a new male lover, a much older lawyer named Michel.

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But even with all the epistemological falderal, these two books are, at their hearts, highfalutin romance novels. That is their deep and understandable appeal, and their undying folly. If Greek-Egyptian poet Constantine Cavafy had experienced literary coitus with English romance novelist Barbara Cartland, the result would have been something like Call Me by Your Name and Find Me .

Find Me  begins with a resurrection. Elio’s father, Samuel, has died by the end of the first book, but in the opening section of the new novel he is very much alive. On a train to Rome to meet up with Elio, Samuel meets a young woman named Miranda in the compartment they share along with her dog. It is a decade before the ending of the first book; Samuel is more than a decade older than this woman, who takes him to her enfeebled-though-still-fabulous father’s place for lunch when they arrive in Rome after much flirtatious badinage flutters between them, a veritable aviary of deflection and desire. 

Samuel and Miranda fall into bed and madly in love in a hoary whirlwind of messy sheets and florid writing. Aciman actually describes Miranda’s vagina as feeling as if it were a ripened fig opening onto Samuel’s penis as she lowers herself onto it; Miranda, when it’s her turn, describes Samuel’s erect penis as her “lighthouse.”

That word choice made me think of Virginia Woolf’s novel To the Lighthouse , which had its own sectioned structure, the second of which is titled “Time Passes.” Find Me ’s plot, like Woolf’s, is also but an adjunct to its more deeply felt philosophical musings about love, absence and death. (It’s a close call as to which I find more audacious: Woolf’s technique in achieving multiple focalizations in To the Lighthouse or Samuel’s lighthouse and its technique in achieving for Miranda, one presumes, multiple orgasms. Facetious? Not really. This is Aciman’s literary lane — a byway of soft shoulders, hard bodies and surprising intersections where the wolfish and the Woolf-like collide.  Reading him is much like rubbernecking at such collisions.)

Elio and the much older Michel fall in love as quickly in the second section as Miranda and the much older Samuel do in the first. This is a novel about the stirrings of father fixations as much as it is about fate’s steering mechanism in the making of the narrative of lives, loves and novels. The lovemaking of Elio and Michel is rendered with a kind of tender resolve that borders on treacle; it’s all rather quaint and queer, in every sense of that latter word, especially compared with the first section in which Samuel and Miranda boff with abandon. 

The sections of Find Me are titled with the annotations of musical composition. The first is called “Tempo,” and has a pace that is rather startling, jump-starting the book with Miranda’s jaunty air pushing back against Samuel’s jaundiced one. The section is filled with the wondrous smell of her.

The novel’s second part “Cadenza” — which, in music, denotes a solo passage of virtuosic talent (Elio may be performing a duet with Michel, but it feels like a solo) — has not the smell of flesh but of emollients lining the shower and shelves in Michel’s country estate, as well as of the soaps he uses on Elio’s naked body as he insists Elio keep his eyes closed. That encounter makes for a rather creepy scene that is, one presumes, supposed to be about adoration and trust but instead reminds one of a father giving his child a bath.

The third section of Find Me is titled “Capriccio,” which, musically, connotes something improvised and brief — and in painting means that there are facets of fantasy present, and one must ferret out what is real and what is imagined. This part of the novel catches up with Oliver, now a father of two grown sons, and his wife, Micol, as he is finishing up a teaching sabbatical from his school in New Hampshire. He has spent the sabbatical in New York City, where he has been lecturing on the pre-Socratics, whose inquiry was based on the natural world.

The section centers on Oliver yet again departing — specifically on a going-away party for his wife and him at which Oliver moons over two guests he has invited: a young gay colleague at the New York City university and a young woman who stretches on a neighboring mat at his yoga class. The section is infused with the fluidity of Oliver’s bisexuality, as well the internal dialogues he is having with the idealized Elio, each still trying to find himself in the ether of time and the either of the other. 

We are informed that the gay colleague has been working on a book about the Russian pianist Samuil Feinberg. And thus he sits down at the old Steinway during the party’s denouement — as well as the book’s — and begins to play Bach’s achingly beautiful “Arioso,” which is what Elio had played during that other long-ago departure that still underscores Oliver’s musings.

The current objects of Oliver’s desire — the pianist who has served his purpose (and the author’s) and the afterthought of a yoga partner, the latest stand-in for the parameters that women have offered Oliver in a kind of purloined life — exit the party and Oliver is left with his wife. She heads to bed. No boffing with abandon for them; not even the treacle of reticence. Oliver stays behind to clean up and descries, no longer mooning over others, the moon itself outside noticing him with its accusatory fullness, this professor closing in on 50 who forms public notions about the natural world within the context of classical thought — and private notions about it within the context of his memories of an idyllic Italy. 

“Music is no more than the sound of our regrets put to a cadence that stirs the illusion of pleasure and hope,” Bach says in another of Oliver’s internal dialogues, speaking to him amid the deafening silence of the life he has chosen even as the life that once chose him — and which he rejected — refuses to remain unheard. It beckons him through Bach to find it again. “It’s the surest reminder that we’re here for a very short while and that we’ve neglected or cheated or, worse yet, failed to live our lives. Music is the unlived life,” the composer explains. “You’ve lived the wrong life, my friend,” says Bach, “and almost defaced the one you were given to live.”

“What do I want?” asks Oliver. “Do you know the answer, Herr Bach? Is there such a thing as a right or wrong life?”

“I’m an artist, my friend,” Bach says. “I don’t do answers. Artists know questions only.”

In Find Me ’s final section, called “Da Capo” — a musical term that means “back to the beginning” or, translated literally, “from the head” — we are transported, in essence, to the ending of Call Me by Your Name . Oliver is back in Italy with Elio. There are still, however, a few unanswered questions.

But as for the answer to the question posed at the beginning of this review — How to begin when you have already experienced an ending? — I would suggest you read some Cavafy and Woolf. Skip the Cartland. Listen to Bach while reading Aciman’s sentences, which can be maddening but adhere hauntingly to the rhythms of Bach’s brilliant clarity when you expect them instead to vault into the realm of Vivaldi ruined by Liberace.

More important, listen deeply to the longing of your own heart and its own language while reading Aciman’s. Allow them to coalesce. Continue to read. Continue to love. Continue to find yourself. Call yourself by your own damn name. 

Kevin Sessums was a contributing editor of Vanity Fair  for 14 years, where he wrote 28 cover stories and over 300 articles. He has authored two New York Times  best-selling memoirs, Mississippi Sissy  and I Left It on the Mountain , and is currently the editor and publisher of sessumsMagazine.com.

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Find Me by André Aciman review – a beautiful conclusion for Elio and Oliver

The author of Call Me By Your Name returns to his beloved characters in a deeply romantic, philosophical sequel

A ndré Aciman’s 2007 breakthrough novel, Call Me By Your Name – later made into an award-winning film directed by Luca Guadagnino – told the story of a blossoming romance between 17-year-old Elio and 24-year-old Oliver. Exploring themes of passion, obsession and time, the book has since acquired the status of a modern gay classic.

In Find Me , Aciman returns to the lives of Elio and Oliver some 20 years later, albeit via a circuitous route: we have to wait until almost halfway through the novel for Elio’s first appearance, and are not reacquainted with Oliver until the penultimate section. But what Aciman offers us in the meantime is an intense and rewarding prelude.

The opening section finds Elio’s father, Samuel, on a train from Florence to Rome, sharing a carriage with a beautiful young photographer, Miranda. The two begin talking and soon discover a deep connection. Within hours, in spite of the age difference between them, they are planning a life together: “I’ll know that whatever time you’ve given me, my entire life… was all leading up to you.”

The second section finds Elio embarking on a new relationship with an older man, Michel, in a clear parallel to his father’s relationship with Miranda. But Elio, a concert pianist, cannot silence the echo of his first great love, Oliver: “so many years could go by and leave me still attached to someone who had become an invisible presence”.

Oliver himself, meanwhile, is in an unhappy marriage, ruminating over his love affair with Elio, and it is not until the last section that Aciman delivers their long-awaited, inevitable reunion.

Find Me is an unashamedly romantic and philosophical novel. Characters fall in love with one another’s discourse, with topics ranging from literature and music to notions of time, desire and fate: “time is always the price we pay for the unlived life”. And yet Aciman manages, by immersing us in their emotional dynamics, to present this intellectual sparring without pretentiousness.

Fathers – and their enduring influence – loom large. Miranda is the primary carer for her father; their relationship is devoid of the delusions that often cloud familial relationships. Likewise, Samuel’s relationship with Elio is based on mutual love and respect: “We never had any secrets, you and I, you know about me, and I know about you. In this I consider myself the luckiest son on earth.” Michel, Elio’s lover, obsesses over his dead father, while in the novel’s tender conclusion, Elio realises that fatherhood can come in many different guises.

But at its core, Find Me is a study in love: not only the love we dare to embrace but the love that exists in the parallel lives we lack the courage to explore.

• The Observer
• Call Me By Your Name

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“Find Me” Is a Shallow Sequel to “Call Me By Your Name”

By Katy Waldman

The novel “ Call Me by Your Name ,” by André Aciman, was published in 2007 and adapted into a movie in 2017. It conjured a swoony romance between two young men, Elio and Oliver, in an Italian seaside town. Then it ended in heartbreak as gentle as the sun slipping beneath the sea. The book established Aciman as a poet of the drunken senses; this magazine described him as an “ acute grammarian of desire .” The film, which grossed 41.9 million dollars at the global box office, seduced both viewers and critics, who declared it “ravishing,” “a lush and vibrant masterpiece.”

Luca Guadagnino, the movie’s director, and Timothée Chalamet, one of its stars, were rumored to be among the many people clamoring for a sequel to the source text. That sequel has arrived, in the form of “ Find Me ,” Aciman’s new novel. The book picks up a decade or so after the main action of “Call Me by Your Name,” with Samuel, Elio’s father, on a train to Rome to visit his son, who has become a classical pianist. En route, Samuel meets a twentysomething woman with whom he conducts an affair. The perspective switches to Elio, who remains haunted by memories of Oliver while pursuing Michel, a lawyer nearly twice his age, and to Oliver, now a professor in the United States, who is throwing a party with his wife and lusting after two guests. Then it’s back to Elio, in a coda that doesn’t so much sink softly under the waves as crash, like a drunk on a scooter, into the beachside ice-cream stand.

The longest section belongs to Samuel and his paramour, Miranda. Miranda is model-gorgeous but dressed carelessly; her demeanor is a mix of wryness, impetuousness, and tenderness. She takes black-and-white photographs and makes forgettable observations that prompt Samuel to marvel at her brilliance. The admiration is mutual. Within twenty-four hours of meeting Samuel, Miranda is sobbing in his bed, entreating him to have her baby (“I want it from you and no one else—even if we never see each other after this weekend”), and offering to tattoo a lighthouse (she calls his penis “my lighthouse”) onto her genitals. Samuel, meanwhile, is a divorced scholar who believes that he has missed his chance at love; he’s quick with what are received, within the world of the book, as acute remarks, unless he’s post-coitally outsourcing his eloquence to the German Romantics. (“ ‘Where did they invent you?’ I said when we were resting. What I meant to say was I didn’t know what life was before this. So I quoted Goethe again.”)

These characters are so unreal—she a wet dream, he a cipher—that any specificity at all becomes embarrassing, as if Aciman were revealing his particular turn-ons. And yet we continue to be served details, often through Miranda’s hero worship. This points to a bigger problem with the book: since all of the narrators are in love and interact mainly with their lovers, the only opinions we ever hear expressed about these people are sweaty and rapturous. The result is a novel that feels besotted with its characters despite scant evidence of their charms. The sex writing itself is unfortunate. If Samuel’s penis is a lighthouse, Miranda’s vagina, we’re told, is a fig. “This is who we’ll be,” Miranda promises, “all cum and juices.” Never has a whirlwind romance felt so interminable.

The second section, about Elio and Michel, reprises the May-December dyad. The two men meet at a classical-music concert and begin to flirt, probe, and speak wistfully about their fathers, who taught them music. Michel’s used to sneak downstairs and play the piano at night; Michel learned to say, in the morning, that he’d dreamed that the piano had played itself. Is this plangent or preposterous? (What person thinks that his family won’t notice him practicing the piano while they’re trying to sleep?) Michel maintains a civil yet distant relationship with his own son, which pains him, because he longs for someone with whom he can reminisce warmly about his dad. But perhaps Elio can fulfill that function. The overlapping male bonds, the echoing motifs—a hand placed on a face, the older lover “holding back”—hint at Aciman’s formal ambition, as he drops hints about “destiny” and the looping nature of time. “Fate,” says Michel, with the book’s characteristic subtlety, “has strange ways of teasing us with patterns.” But it’s hard to appreciate the magic of coincidence when Aciman has lined up all these details himself.

The Oliver section is likewise seeded with defective epiphanies. Oliver finds himself drawn to two party guests, a man and a woman. In fact, he is drawn to the Elio in them; together, they add up to the boy he left behind. (“I couldn’t care a whit about their lives,” he reflects.) As Oliver submits to a fantasy of Elio, of his “impish laugh” and “jeering languor,” Aciman again seems to be positing something like the fungibility of all people who fall outside the bounds of a lover’s narcissism. The book wants to show that people can finish each other’s stories: that Elio might serve as Michel’s estranged son, or that Oliver’s guests might stand in for Elio. This instrumentalization is meant to feel poignant, but it comes off as callous. Consider Samuel and Miranda in their hotel’s breakfast area:

The personnel dressed in white jackets the next morning were busy confabulating and joking with one another while cheesy loud music was playing in the background. “I hate background music and I hate their yapping,” [Miranda] said, indicating the help. She did not hesitate in turning around to one of the waiters. . . . Right away they got quiet. “I’ve grown to hate this hotel,” I said, “but I come here each time I’m in Rome because of the balcony attached to my room. On warm days, I love sitting under the umbrella to read. Later in the evening I have drinks with friends either on my balcony or in the larger terrace upstairs above the third floor. It’s simply heavenly there.”

The scene traps all of “Find Me” in amber. A glimmer of the outside world is shushed to make room for drivel about one’s leisure habits. Aciman relays the reprimanding of the help in the same spirit with which he describes Miranda’s beauty or Samuel’s discernment—that is, as a sign of character. Aciman wants us to approve of his sweethearts so that we can participate in their co-enchantment. This worked in his previous novel. The leads in “Call Me by Your Name” were self-conscious and soulful, but they also scanned as sweet and curious; theirs was the insufferability of youth. Their universality, too, formed part of their appeal: precisely drawn, with delicately shaded interactions, the Elio and Oliver of 2007 made for a convincing portrait of first love. That universality has fled from “Find Me,” which feels alternately too vague, too offensive, and too ridiculous to do anything but place one’s empathic imagination on a rack until one surrenders to one’s own contempt.

Yet it is fellow feeling that these lovers seem to desire above all. Aciman’s characters idealize a state of attunement. “What never ceased to amaze me and cast a halo around our evening was that ever since we’d met, we’d been thinking along the same lines,” Elio says, about Michel. In psychology, attunement, which is sometimes cited as a prerequisite for healthy love, denotes an ability to intuit what the other needs, and to interpret signs in the way that they were intended. The relationships in Aciman’s novel, be they transient or lasting, are marked by an affinity that tends to deepen through conversation, though it requires no words. It is all the more ironic, then, that this reviewer’s experience of “Find Me” was one of such profound disattunement . The book wants to be intimate, profound, but it reads as glib and remote, impervious to actual feeling. Indeed, the text seems not to account for an audience. An apter title would be “Get Lost.”

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Reviews of Find Me by Andre Aciman

Summary | Excerpt | Reading Guide | Discuss | Reviews | Beyond the book | Read-Alikes | Genres & Themes | Author Bio

by Andre Aciman

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• Literary Fiction
• Romance/Love Stories
• Contemporary
• Mid-Life Onwards

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Book Summary

In this spellbinding exploration of the varieties of love, the author of the worldwide bestseller Call Me by Your Name revisits its complex and beguiling characters decades after their first meeting.

No novel in recent memory has spoken more movingly to contemporary readers about the nature of love than André Aciman's haunting Call Me by Your Name . First published in 2007, it was hailed as "a love letter, an invocation...an exceptionally beautiful book" (Stacey D'Erasmo, The New York Times Book Review ). Nearly three quarters of a million copies have been sold, and the book became a much-loved, Academy Award–winning film starring Timothée Chalamet as the young Elio and Armie Hammer as Oliver, the graduate student with whom he falls in love. In Find Me , Aciman shows us Elio's father, Samuel, on a trip from Florence to Rome to visit Elio, who has become a gifted classical pianist. A chance encounter on the train with a beautiful young woman upends Sami's plans and changes his life forever. Elio soon moves to Paris, where he, too, has a consequential affair, while Oliver, now a New England college professor with a family, suddenly finds himself contemplating a return trip across the Atlantic. Aciman is a master of sensibility, of the intimate details and the emotional nuances that are the substance of passion. Find Me brings us back inside the magic circle of one of our greatest contemporary romances to ask if, in fact, true love ever dies.

Sadly, the publisher was unable to provide us with an excerpt from this book.

Please be aware that this discussion guide will contain spoilers!

• The book begins with a conversation between Miranda and Samuel, who are strangers. What is your first impression of them? What are the similarities and differences in attitudes, beliefs, and experiences that draw them to each other? What are the critical moments in the development of their relationship? Why might Aciman have chosen this opening, given that the story ultimately belongs to Elio and Oliver?
• Who is the "Me" of the book's title? Might there be more than one? What does it mean to be found? How are the themes of love, loss, and loneliness explored in each section?
• Miranda's father is editing a dissertation that contains parables, which he says prove that "life and time are not in sync" and that we all "have many lives." ...

Please be aware that this discussion guide may contain spoilers!

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Can the euphoria of first love ever be recreated? Is it worth sacrificing something sturdy to chase after something fleeting? Was what Elio and Oliver had in Call Me By Your Name any less real simply because it was so brief? Find Me is perhaps more contemplative than its predecessor, but ultimately no less enchanting, and arguably even more affecting. The unhappiness, emotional distance, and unspent desire that these characters must first grapple with in order to attain closure makes the conclusion all the more gratifying... continued

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(Reviewed by Rachel Hullett ).

Beyond the Book

Literary sequels.

2019 has been a year of literary sequels: bestselling authors expanding on fictional worlds they created, in some cases decades after the original book was published. Find Me by André Aciman is one such example, published 12 years after Call Me By Your Name . But it's hardly a new phenomenon—here are some of the most noteworthy literary sequels to have hit the shelves, often to the surprise and delight of readers everywhere.

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'Call Me by Your Name' sequel 'Find Me' is lustful, magical but frustrating

Spoiler alert: This post contains plot details of Andre Aciman's "Find Me," the sequel to "Call Me By Your Name." 

Elio may have been the protagonist in André Aciman's 2007 novel "Call Me by Your Name," but in the book's sequel, "fate" is the character you're going to be most invested in. 

"You know, life is not so original after all," one character tells another in "Find Me," (Farrar, Straus and Giroux, 261 pp., ★★★ out of four), out Tuesday, Oct. 29. "It has uncanny ways of reminding us that, even without a God, there is a flash of retrospective brilliance in the way fate plays its cards."

Aciman has indeed laid all his cards on the proverbial table, answering questions about some of the original novel's characters (yes, both Elio and Oliver) but deftly dodging others. It’s almost like “Find Me” was the book Aciman really wanted to write all along, but first you needed all the pieces of the puzzle to get there.

Interview: 'A moment of magic': André Aciman talks 'Call Me by Your Name' sequel, 'Find Me'

Check out: USA TODAY's weekly Best-selling Booklist

"Find Me" is the perfect sequel to "Call Me by Your Name" – lustful, introspective and magical – though it is a work that requires readers to suspend disbelief almost to a fault.

'Find Me' doubles down on age gaps in relationships

“Find Me” has everything you loved – and everything that made you cringe – about “Call Me by Your Name."

It fills in its predecessor's gaps. We see characters 10, 15 and 20 years into the future. The themes of "fate" and "time" fly above each story: like doves (romantic entanglements that transcend convention) and like daggers (the reminder that time is often not on our side). But we don’t have only Elio’s voice to rely on this time: We have Sami's and Oliver’s voices, too.

Sami, who we find out has since divorced Elio's mother, meets a woman half his age by chance on a train. Their chemistry grows undeniable. The way he first speaks to her, however – asking her why she looks so "glum" – reads uncomfortably.

One can’t help but cringe when considering this exchange and other moments through a #MeToo-era lens – not to mention that there are no female narrators. This unbalanced power dynamic isn’t fully explored, something Aciman also didn't unpack in the first novel (Elio is 17 and Oliver is 24, controversial in its own right). And the age gaps don't stop there. In the middle of the novel, Elio begins a romance with a man twice his age.

More: 5 books not to miss: Jami Attenberg's 'All This Could Be Yours,' John le Carré spy novel

Aciman’s languid, rhythmic writing does an excellent job distracting you from what might otherwise give you pause; the "Find Me" romances are sensual and gripping. He writes like a cross-country runner: He slows and speeds pacing but never loses sight of the finish line. That question, though, of whether the "Find Me" romances should exist, doesn’t quite go away. 

As with "Call Me by Your Name," "Find Me" also fails to address the HIV/AIDS crisis in any way. The world Aciman has created seems to exist outside of time. It's not that every novel must reflect the state of the world in which its published. But when a work of art is altogether strong, it's that much more frustrating when individual pieces don't quite shine.

Should I read 'Find Me' if I've only seen the 'Call Me by Your Name' movie?

If you’ve only seen the film version of  “Call Me by Your Name,” this book is not for you. The film's ending is, appropriately enough, more cinematic, with Elio crying by the fireplace after finding out Oliver is getting married. It makes sense for the viewer to see Elio grieve a lost love just as his father said he should. The book, however, ends quite differently.

"Find Me" has every bit of romantic tension as “Call Me by Your Name,” but is even more frustrating because all you want is to have Elio and Oliver at least in the same room together (and you don't get that until the final section). In that sense, the book achieves what it’s set out to do: Make you wait 20 years before "finding" that person you’re supposed to be with after all.

Movie review: 'Call Me By Your Name' is a first-love story to savor

For family dysfunction: Family dysfunction is at its finest in Jami Attenberg’s devastating ‘All This Could Be Yours’

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by Alafair Burke ‧ RELEASE DATE: Jan. 11, 2022

For those who like a tricky brain teaser and aren't too picky about interesting characters or emotional realism.

A mystery featuring a woman with amnesia in New Jersey, a drowned fishing guide on Long Island, a 15-year-old cold case in Wichita, and much more.

In her 19th mystery, and the sixth to feature detective Ellie Hatcher, Burke has taken the kitchen-sink approach, offering a rare abundance of characters, crimes, and misdemeanors. As much as there is a protagonist, it is a woman who, years ago, was thrown from an SUV in Hopewell, New Jersey, and lost her memory. Hope Miller, as she is now known, has spent the past decade and a half under the wing of a devoted friend she met after the accident, an attorney named Lindsay who lives with a boyfriend named Scott. But as the story opens, Hope has disappeared from Hopewell without leaving Lindsay any information as to her whereabouts. Since she has no legal identity, Hope has to work under the radar; she finds a job staging properties on the East End of Long Island for a sketchy real estate agent named...oh well, turns out he's not that important. Meanwhile, there's Ellie Hatcher, the detective whose series this is. She's on vacation in St. Barth's with her boyfriend, Max, having bad dreams about her dad, a cop who committed suicide because he couldn't find Wichita's College Hill Strangler, who was later arrested and jailed. Then there's this giant home improvement chain also based in Wichita whose female CEO is running for senator...and wait, there's more! This novel seems more like the work of a beginning crime writer than one with Burke's experience. Clues, red herrings, exposition, and "things you should know" are dropped in awkwardly and obviously: "Lindsay had learned that psychological trauma or post-traumatic stress disorder could also induce dissociative fugue, or what used to be called a fugue state—a psychological condition characterized by an inability to recall one’s identity or personality." All this hand-holding aside, the book operates on what feels like a kind of anti–Occam's-razor logic, favoring the most complicated solution to any question. The good news is, there is one.

Pub Date: Jan. 11, 2022

ISBN: 978-0-06-285-336-3

Page Count: 320

Publisher: Harper/HarperCollins

Review Posted Online: Nov. 1, 2021

Kirkus Reviews Issue: Nov. 15, 2021

SUSPENSE | THRILLER | SUSPENSE | PSYCHOLOGICAL THRILLER | GENERAL THRILLER & SUSPENSE | GENERAL FICTION

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BOOK REVIEW

by Mary Higgins Clark & Alafair Burke

by Alafair Burke

by Tana French ‧ RELEASE DATE: March 5, 2024

An absorbing crime yarn.

A divorced American detective tries to blend into rural Ireland in this sequel to The Searcher (2020).

In fictional Ardnakelty, on Ireland’s west coast, lives retired American cop Cal Hooper, who busies himself repairing furniture with 15-year-old Theresa “Trey” Reddy and fervently wishes to be boring. Then into town pops Trey’s long-gone, good-for-nothing dad, Johnny, all smiles and charm. Much to her distaste, he says he wants to reclaim his fatherly role. In fact, he’s on the run from a criminal for a debt he can’t repay, and he has a cockamamie scheme to persuade local townsfolk that there might be gold in the nearby mountain with a vein that might run through some of their properties. (What, no leprechauns?) “It’s not sheep shite you’ll be smelling in a few months’ time, man,” he tells a farmer. “It’s champagne and caviar.” Some people have fun fantasizing about sudden riches, but they know better. Johnny’s pursuer, Cillian Rushborough, comes to town, and Johnny tries to convince him he could get rich by purchasing people’s land. Alas, someone bashes Rushborough’s brains in, and now there’s a murder mystery. The plot is a bit of a stretch, but the characters and their relationships work well. Trey detests Johnny for not being in her life, and now that he’s back, she neither wants nor needs him. She gets on much better with Cal. Still, she’s a testy teenager when she thinks someone is not treating her like an adult. Cal is aware of this, and he’s careful how he talks to her. Johnny, not so much: “I swear to fuck, women are only put on this earth to wreck our fuckin’ heads,” he whines about Trey’s mother, briefly forgetting he’s talking to Trey. The book abounds in local color and lively dialogue.

Pub Date: March 5, 2024

ISBN: 9780593493434

Page Count: 480

Publisher: Viking

Review Posted Online: Dec. 6, 2023

Kirkus Reviews Issue: Jan. 1, 2024

MYSTERY & DETECTIVE | SUSPENSE | POLICE PROCEDURALS | GENERAL MYSTERY & DETECTIVE | GENERAL THRILLER & SUSPENSE | LITERARY FICTION | SUSPENSE | GENERAL FICTION

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by Tana French

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SEEN & HEARD

THREE-INCH TEETH

by C.J. Box ‧ RELEASE DATE: Feb. 27, 2024

A tale that’s hard to believe but easy to swallow in a single gulp.

A bear is hunting prey in Wyoming’s Bighorns. And not just any bear.

It’s bad enough that Clay Hutmacher, who manages the Double Diamond Ranch, has lost his son, Clay Jr., to a vicious attack by a grizzly bear. What’s much worse is that Clay Jr.—who’d been about to pop the question to game warden Joe Pickett’s daughter, Sheridan—is only the first of the victims over an exceptionally broad geographical area. Marshal Marvin Bertignolli is clawed and bitten to death over in Hanna. Sgt. Ryan Winner is found bleeding out north of Rawlins. Former Twelve Sleep County prosecutor Dulcie Schalk, one of two survivors of an ambush, doesn’t survive her final encounter. The four experts chosen to kill the grizzly rope Joe into their expedition, but since their quarry keeps turning up far from the last sighting, the most meaningful confrontation the Predator Attack Team has is with a pair of Mama Bears, animal rights activists who demand due process for Tisiphone, as they’ve dubbed the presumed killer. Box, who’s far too canny to leave Tisiphone alone on center stage, follows Joe’s old antagonist Dallas Cates as the ex–rodeo star is released from prison and embarks on his revenge tour, which takes him to Lee Ogburn-Russell, an inventor whose life Dallas saved, and Axel Soledad, a correspondent who shares so many enemies with Dallas that he suggests they go after them together. Franchise fans will appreciate new details about Joe’s complicated family, the obligatory high-country landscapes, and yet another corrupt law enforcer.

Pub Date: Feb. 27, 2024

ISBN: 9780593331347

Page Count: 384

Publisher: Putnam

Review Posted Online: Jan. 5, 2024

Kirkus Reviews Issue: Feb. 1, 2024

SUSPENSE | SUSPENSE | GENERAL MYSTERY & DETECTIVE | MYSTERY & DETECTIVE | GENERAL THRILLER & SUSPENSE

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Book Review: Find Me by Alafair Burke

By john valeri.

Alafair Burke is the New York Times bestselling author of fourteen novels, including recent standalones such as the Edgar Award-nominated The Ex , The Wife , and The Better Sister as well as the Ellie Hatcher and Samantha Kincaid series. She also collaborated with Mary Higgins Clark on the five-book Under Suspicion saga. A former prosecutor, Burke teaches criminal law at Hofstra and makes her home in Manhattan and East Hampton. January sees the release of her newest, Find Me (Harper).

It’s the story of two women, Lindsay Kelly and Hope Miller, who share a unique connection that resulted in a fiercely loyal friendship. They have been inseparable since Lindsey found Hope fifteen years ago, thrown from an overturned vehicle on a local highway in the small town of Hopewell, New Jersey. Despite the passage of time, Hope—whose real name and origin story remain lost to amnesia—has no recollection of her past. Fortunately, the townspeople allowed her to forge a new identity with minimal intrusion. But when Hope decides to make a break from this quiet community and begin again in East Hampton, it appears that her previous life may have finally caught up with her when she goes missing.

Hope was last seen in a home she was staging for a real estate showing. Lindsay, now a criminal defense attorney, enlists the begrudging help of neighborhood police officer Carter Decker. When Decker’s conciliatory “investigation” turns up traces of DNA that connect to an infamous Kansas killer, suspicions grow that Hope’s disappearances may have been deliberate (though Lindsay remains steadfast in her dissent). Enter Detective Ellie Hatcher (last seen in 2014’s All Day and a Night ), whose father worked the older case—and later died of a gunshot wound, said to have been self-inflicted. Having finally come to terms with her haunted history, Ellie is once again pulled back to a time she’d rather forget as she endeavors to remedy past and present.

Burke tells the story through multiple points of view, which allows her to highlight each character’s motivations (and manipulations) as they work toward the endgame. This approach not only heightens conflict and tensions but strengthens an ensemble in which each person is contextualized rather than serving as a mere convenience. Regardless of some necessary coincidence to tie things together, an intricately developed backstory ensures that the plot comes off as far more clever than contrived. Consequently, the book works well as a standalone or an addition to the Ellie Hatcher canon depending on how readers wish to approach it.

Find Me ranks among Alafair Burke’s best. Stellar characterization and surprising twists abound, but it’s the deft handling of topics such as dissociative fugue—still very much a mystery, which lends itself nicely to genre fiction—and, to a lesser extent, codependency, that provide nuance. Further, the skillful melding of new and old should entertain all readers, regardless of their familiarity level with the author’s previous work, while the theme of identity will resound with anybody who’s ever struggled to find themselves. 

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In this spellbinding exploration of the varieties of love, the author of the worldwide bestseller Call Me by Your Name revisits its complex and beguiling characters decades after their first meeting.

No novel in recent memory has spoken more movingly to contemporary readers about the nature of love than André Aciman’s haunting  Call Me by Your Name . First published in 2007, it was hailed as “a love letter, an invocation . . . an exceptionally beautiful book” (Stacey D’Erasmo,  The New York Times Book Review ). Nearly three quarters of a million copies have been sold, and the book became a much-loved, Academy Award–winning film starring Timothée Chalamet as the young Elio and Armie Hammer as Oliver, the graduate student with whom he falls in love.

In  Find Me , Aciman shows us Elio’s father, Samuel, on a trip from Florence to Rome to visit Elio, who has become a gifted classical pianist. A chance encounter on the train with a beautiful young woman upends Sami’s plans and changes his life forever.

Elio soon moves to Paris, where he, too, has a consequential affair, while Oliver, now a New England college professor with a family, suddenly finds himself contemplating a return trip across the Atlantic.

Aciman is a master of sensibility, of the intimate details and the emotional nuances that are the substance of passion.  Find Me  brings us back inside the magic circle of one of our greatest contemporary romances to ask if, in fact, true love ever dies.

Now a Major Motion Picture from Director Luca Guadagnino, Starring Armie Hammer and Timothée Chalamet, and Written by Three-Time Oscar Nominee James Ivory

The Basis of the Oscar-Winning Best Adapted Screenplay

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An instant classic and one of the great love stories of our time.

André Aciman’s Call Me by Your Name  is the story of a sudden and powerful romance that blossoms between an adolescent boy and a summer guest at his parents’ cliffside mansion on the Italian Riviera. Each is unprepared for the consequences of their attraction, when, during the restless summer weeks, unrelenting currents of obsession, fascination, and desire intensify their passion and test the charged ground between them. Recklessly, the two verge toward the one thing both fear they may never truly find again: total intimacy. It is an instant classic and one of the great love stories of our time.

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• Call Me By Your Name

'You’ll Never Find Me' Review: Shudder's Horror Thriller Is All Bark and No Bite

This Australian chiller is all setup and no delivery.

The Big Picture

• The film's first act sets up a tense and atmospheric dynamic between the characters.
• The final act loses direction, focusing on shocking horror imagery over meaningful themes.
• The ending lacks nuance, leaving characters underdeveloped and failing to provide a satisfying conclusion.

What sounds scarier to you? You live alone in a secluded mobile home in an isolated trailer park. In the middle of the night, as a storm that could end the world rages outside , you hear a knock at the door. The person continues to bang and you know that they will not go quietly. Should you let this stranger into your home? Can they be trusted? Or are they some deranged psychopath ready to kill you? Or, is it more threatening to be alone, caught outside in a raging storm, with no coat or shoes? You are at the mercy of a stranger and you bang on their door, begging them to let you in before you die of hypothermia. Can you trust this person to give you shelter, a ride, or the use of a phone? Or are they some deranged psychopath ready to kill you? This dichotomy of circumstances and perspective is at the center of Shudder ’s horror chamber piece You’ll Never Find Me by the directing duo of Indianna Bell and Josiah Allen from a script by Bell.

While it’s an interesting dynamic to study, it all falls apart as the film becomes wrapped up in trying to deliver imagery and a finale that will shock you , abandoning any character development or thematic heft. It instead descends into a directionless mess of a finale, demanding a lot of patience from its audience as we are expected to invest in characters the film didn't finish developing. While, at first, it succeeds in going in directions that the audience won't expect, it ultimately hangs itself on destinations that don't feel earned.

You'll Never Find Me

Patrick, a strange and lonely resident, lives in a mobile home at the back of an isolated trailer park. After a violent storm, a mysterious young woman appears at his door seeking shelter from the elements.

What Is 'You’ll Never Find Me' About?

The Australian horror opens with Patrick ( Brendan Rock ), a middle-aged, disheveled man who lives in a modest and isolated mobile home. The heavens are opening up outside, pelting against the thin walls of his home, feeling like they could close in on him at any moment. He is drinking whiskey alone at his table, looking conflicted and sullen. His somber introspection is broken by a loud rapping on his door . He’s reluctant to answer it; who could be calling at this time of night? It’s a nameless woman in her 20s ( Jordan Cowan ), and while she doesn’t say much nor does she show a specific expression on her face, she begs to be let in. She’s soaked through and barefoot, with only a thin shirt to protect herself from the elements.

She asks Patrick for help — a lift to the closest town, the use of his phone, or information on local transport. Patrick can’t offer any of these, explaining them away with a multitude of meek excuses . While he seems apprehensive to help her, he slowly starts to show more kindness, offering to dry her shirt, allowing her to use his shower, and preparing her a hot meal. She, on the other hand, only appears more and more suspicious to both Patrick and the audience. She has no decent explanation for why she was caught in a storm without the appropriate attire, and she can’t account for why she was able to get into the park when the gates closed much earlier. While the situation would lead you to worry for the woman, Patrick, at first, seems to have more reason to be nervous about his houseguest.

'You'll Never Find Me' Is Slow to Reveal Who the Real Villain Is

As the film progresses, your suspicions are constantly switching between the two . The script intentionally makes her suspicious, as we know very little about her while Patrick monologues about the sadder moments in his life, rendering him somewhat vulnerable. He at first appears as a lonely man who has been through things. She is skittish, never fully relaxing even though Patrick doesn’t show any signs of ill intent. Patrick constantly catches her out in her lies, and you start to suspect that she has an ulterior motive, that it wasn’t random that she landed at his house. It’s an interesting twist on the usual gender dynamics we see in horror and thrillers. But then, around halfway through the film, just when you think some backstory is going to slide into place, making everyone’s intentions clear, the film descends into completely nonsensical territory, rendering everything you’ve seen up to this point worthless.

The 7 Best Movies and Shows Coming to Shudder in March 2024

A key conversation takes place around 20 minutes in. Patrick is waxing poetic about the responsibility women have to take when they put themselves in dangerous situations. “Some women just want to blame everyone else for their bad decisions,” he says. The young woman matches his pessimistic view on life, believing that we are all just outrunning something and trying to “find new scenery for our misery.” While she definitely could do with some self-help books, his views on female safety immediately put the viewer on high alert . Minutes later, when the woman starts to suspect that Patrick isn’t just a lonely man, she’s forced to choose between his gaslighting and her intuition. It's a situation many women have been in. Do you trust your gut and risk offending someone, or do you stay quiet until it’s too late? And are you to blame for putting yourself in harm’s way?

'You'll Never Find Me's First Act Is the Strongest

The first half of the film sets up some interesting ideas . Victim-blaming, how humans treat each other when one is in need, and the safety of women are all touched and laid out in the many exchanges between Patrick and the woman. But between all of these more interesting ideas, we get tedious monologues from Patrick about God, his ex-wife, and the isolation of his existence. His pious ramblings take away from any attention or chemistry with the woman. Again, this film will test your patience, and that’s all down to the script. When the action gets going, and it becomes clear who needs to fear who, we are asked to root for one character and resent the other. But because the script so far has barely given the women any backstory and only given Patrick philosophic meditations on life’s misery — which sound like they came from a Samuel Beckett play, this almost plays like Shudder’s Waiting for Godot — it’s hard to feel invested or connected to either character.

'You'll Never Find Me's Ending Is Chaos

The final act completely shifts gears, and begs the question “Does this film know what it wants to be?” While the first two acts make up a character study dripping in tension, the final 40 minutes feel like they were constructed merely to shock the audience . The last-ditch effort at a “twist” feels predictable yet wholly out of place. What makes the first act worth watching is that you genuinely do not know what is going to happen. Is it a Lovecraftian cosmic horror , and the two characters are in a mobile home that is floating through another dimension? Are Patrick and the woman (oh yeah, she doesn't get a name) somewhat connected with a backstory dating back years? The possibilities are what keep you hooked. But once the film reveals its true intentions, the disappointment is too profound to stay engaged.

The ending is more concerned with packing in as much horror imagery as possible without assigning much meaning to any one of them . Themes are replaced by frights and the film ditches any attempt at commentary to become a derivative gimmick, offering no nuance or character development. Both Patrick and the woman remain stale throughout. They start as the absolute focus of the film but are then shoved aside in favor of desperate ploys to leave the audience confused and shocked. While ambiguous endings can serve to leave the ideas the film has set up to the audience to interpret for themselves, making the viewing experience more immersive, You’ll Never Find Me gets lost in its own madness. Its ending is less ambiguous and more thoughtless.

Brendan Rock and Jordan Cowan Give Committed Performances in 'You'll Never Find Me'

For a film that demands a lot from just two players, both Rock and Cowna turn in concerted efforts. The script asks them to constantly switch between hunter and prey, and both handle the constant juggling of different demeanors with ease . Rock's somber, reticent, and foreboding persona is never overpowering, always leaving room for a nervous, skittish, yet confident clapback from Cowan. The film is strongest when it allows for a back-and-forth between the two, and the lead performances are what ultimately holds the film together when the plot gives way. The directing from Bell and Allen outruns the writing by a mile, never showing any impatience (almost too much so) to get the film going, lingering on the smaller moments that amp up the tension.

You’ll Never Find Me is a self-serious, tense, and nightmarish film between two people . It raises some interesting ideas, establishes a heavy atmosphere and an unpredictable narrative, but spoils it all by trying too hard to leave its audience with open mouths. There is a better film to be made out of its first act, one where the idea of who is the victim and who is the predator is in the eye of the beholder. But these are just glimpses, buried by a final act that seemingly doesn’t understand nor care for everything that came before it.

You'll Never Find Me is a horror thriller with a tense first act but ends up giving way to a half-baked script and derivative horror choices.

• You'll Never Find Me is led by two committed performances.
• The first act succeeds in creating a palpable atmosphere of tension.
• The film's final act descends into directionless chaos, leaving the audience on a weak note.
• The setup of the film's themes and ideas ultimately leads no way, as they are abandoned for attempts to shock the audience by horrific imagery.

You'll Never Find Me is now available to stream on Shudder in the U.S.

Watch on Shudder

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, you'll never find me.

Now streaming on:

"I'm afraid you knocked on the wrong door."

When Paul ( Brendan Rock ) says those words to the nameless woman who shows up at the door of his isolated trailer in the middle of a stormy night, the wordless uneasiness, already present in "You'll Never Find Me," shivers into anticipatory dread. We know what's coming. We've seen it before.

Only, we haven't. "You'll Never Find Me," the debut feature from Australian film-makers Indianna Bell and Josiah Allen , is a unique and startling film, decidedly its own "thing," albeit steeped in the horror tradition. The sense of ambiguity, of not being sure what to think, of who to root for, is so thick it's almost a solid substance. The two characters trudge through a sludge of suspicion and paranoia. The texture of "You'll Never Find Me" is masterfully sustained, so that the atmosphere's mix of pure fear and murky confusion is a waking nightmare, or one of those dreams where you know something terrifying is chasing you, and you are frozen in place.

The woman who shows up at Paul's door is labeled " The Visitor " in the credits, giving her a semi-supernatural connotation, although she is clearly flesh and blood, shivering and dripping wet. Jordan Cowan's Visitor is mercurial, confusing, flickering with impulses and responses, some recognizable, others not so much. Paul lives in a dingy trailer in what appears to be the middle of nowhere. How this barefoot woman even got to him at such a late hour is not explained. Her story—she fell asleep on the beach and was walking "home"—doesn't make sense. When she tells the story again, details change. She is clearly lying. Paul is first seen alone, a stolid mass of a man, soggy with feeling (although what he's feeling is harder to name), sitting at his tiny table, listening to the storm scream against the thin walls. Something is very very wrong even before the Visitor shows up.

The woman's overall demeanor is inconsistent with her circumstances. She tries to put a brave face on things. She asks if he can give her a lift into town. He keeps telling her they'll have to wait until the storm passes. He suggests she allows her clothes to dry, he makes some tea, he suggests a hot shower, he makes her some soup. The shadows are so dark, the storm is so loud, the creaks and drips and howls in the air make ordinary kindness seem sinister. What's he up to? But everything is so unstable you wonder what she is up to as well. He talks a lot, but it's not small-talk. He moves like he's underwater, and his thoughts are equally slow and deliberate. He drones on about fear and paranoia, sleep vs. no sleep, and she listens, sometimes alert to red flags of potential danger, but sometimes getting sucked into his rhythms. The Visitor is strangely comfortable in this eerie environment, peering at the objects and trinkets he has lying around, openly snooping. The shadows are thick and impenetrable, even more so when the power goes out.

Bell wrote the extraordinary screenplay. There are only two characters in the film, and there's a lot of dialogue. Paul is caught up in his own dark insomniac imaginings, terror at what might be outside trying to get in. There's something hypnotic about his voice. The Visitor listens with her nerve endings. She wants to leave. But she stays.

The pace is slow, and the sound design is oppressive: the howls of wind, the dripping, groaning pipes, floors and chairs creaking, all of which sometimes sound like human voices in agony. Maxx Corkindale's cinematography, combined with the set design, is a moody gloomy masterpiece. The color scheme is so controlled—rusts and dingy golds interrupted by patches of pitch blackness—that when other colors arrive—fluorescent blues, silvers, greys—it's as alarming as a gun shot. There are times when the storm is so intense it pounds against the ceiling and walls like a wild animal. Paul and the Visitor glance up at the ceiling, alarmed. They both seem to be in danger. In the world of "You'll Never Find Me," this may very well be true.

Maybe everything is what it seems: Paul is a lonely man retreated from society, undone by some tragedy, and the Visitor is a free-spirited girl who gets herself into "dumb situations," as she says. But there are clues. The power dynamic is like a river, crashing back and forth between Paul and the Visitor. At different points, it's perfectly believable that the Visitor is the one who poses a threat to Paul. At other times, the opposite is true. The film is so top-heavy with dread and doom that feeling unsure about the Visitor's motives is a wild accomplishment. Both actors give incredible performances, playing characters stopped up with feelings and secrets. "You'll Never Find Me" is intensely alive.

There is a "twist," which might or might not come as a surprise. The hints are there, but the overall mood is so destabilized the film itself is on edge. Endings are sometimes a deflation in suspenseful movies like this. Putting the pieces together makes the whole seem less than its parts. "You'll Never Find Me" doesn't suffer as much as other films do in this regard, mainly because the sodden yet charged atmosphere is so masterfully sustained for such a long time. The journey is so terrifying that the destination barely matters. Until it does.

On Shudder tomorrow, March 22.

Sheila O'Malley

Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. Read her answers to our Movie Love Questionnaire here .

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You'll Never Find Me Review: An Atmospheric Chamber Piece

I ndianna Bell and Josiah Allen pour on the moody weather-beaten gloom in You’ll Never Find Me . A slow-burn Australian chamber piece thriller that twists and turns its way to a relatively chaotic conclusion.

The story almost entirely takes place in a lonely house in a caravan park as a violent storm rages on outside. Patrick (Brendan Rock) is the homeowner, a clearly troubled man who is interrupted in his solace by a bedraggled visitor (Jordan Cowan) during the middle of the night. The visitor has got stranded in the storm and just wants to use Patrick’s phone. He doesn’t have one, but encourages her to stay until the storm ends so he can guide her to one.

So begins a nervy dance of mistrust between the two. The film asks the question, ”Who, if anyone, is the villain of this piece?” and for a decent stretch, there’s genuine mystery in the question. The visitor has holes in her story, but seems to be incredibly wary of Patrick, who appears to be making excuses to keep her there. He could just be lonely, of course, and everything about his home suggests a self-enforced captivity.

Massive praise must go to the film for how it builds its mood and tension. Bell and Allen maintain an oppressive atmosphere inside the house, but keep the viewer and the players confined to it by making the outside feel like an unwelcoming void where all that exists in it is a relentless storm that seems hell-bent on keeping these two people together against their will, allowing them to get to know each other.

As both, somewhat reluctantly, reveal their life stories to each other, it seems they might actually have something in common. I almost began to suspect a wild turn in the tale that the film was just playing up to the paranoia of two strangers brought together by circumstance in a place that doesn’t exactly feel welcoming.

But the truth does eventually come out. Well, the first portion of it anyway, and suddenly, the slow-burn atmosphere evaporates, and a verbal cat-and-mouse game becomes a physical one. It had to happen, I suppose, but once You’ll Never Find Me shows its hand(s), it loses some steam, and its ultimate revelation robs the preceding 90 minutes of an aspect of its atmosphere.

But it does not take away from two compelling performances from Rock and Cowan. You’ll Never Find Me struggles at times to make a convincing argument for either character’s innocence or potential sinister intent, but the duo do their utmost to convince you with the way they convey it. Be that in facial expressions, shifts in body language, or in verbal exchanges.

While there’s no denying that the film’s conclusion does drain a lot of tension out of a rewatch, those performances, with the new context added, do give an interesting shift in perspective. Bell and Allen build a delightfully dark and moody chamber piece where the storm is as much a character as Patrick and the visitor.

This is a confident feature-length debut that shows a real understanding of building atmosphere with a minimal toolset. The conclusion isn’t quite as effective as everything that precedes it, but there’s much to like about You’ll Never Find Me.

As ComingSoon's  review policy  explains, a score of 7 equates to ”Good”. A successful piece of entertainment that is worth checking out, but it may not appeal to everyone.

You’ll Never Find Me is out on digital platforms on March 22, 2024.

ComingSoon was provided with a screener for the review of You’ll Never Find Me.

The post You’ll Never Find Me Review: An Atmospheric Chamber Piece appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More .

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