The film’s refusal of history may itself be a response to Italy’s legacy of adult male/adolescent boy-themed cinema. Visconti’s 1971 Death in Venice dramatizes Thomas Mann’s 1911 novella about the infatuation of an aging professor (in the movie he is a composer) with a beautiful aristocratic boy as a cinematic tone-poem to an entire decadent bourgeois class cut off from vitality and passion. In Teorema, Pasolini’s 1968 spiritual and political fable, a ravishing Terence Stamp sleeps with everyone in the repressed haute-bourgeois family that welcomes him, man and woman, overseer and servant, with liberating and destructive results. Guadagnino can’t be innocent of these precursors, but he seems determined to vaporize them.