A 'Call me by your name' written in lowercase

“A film by Laurent Cantet directed by Robin Campillo”. The opening credits announce the unique nature of Enzo. The soul of the project lies with Cantet, who, upon learning he had cancer, wanted to work with his co-screenwriter, editor, and friend Campillo to ensure the film would reach completion. The Palme d'Or winner for *La classe* died during pre-production, and the fact that Campillo wanted to keep his authorship in the background reveals that this is a film the director of *120 pulsacions per minut* would have preferred not to make.

If Enzo does not suffer from the mournful context, it is precisely because of the deep connection between its creators, which allows for the organic transfer of gazes, grounded in discretion and the protagonist's attentive observation. The Enzo who gives the film its name is an adolescent who feels out of place wherever he goes: his bourgeois family doesn't understand why he wants to train as a bricklayer, and his construction site colleagues are baffled that he would give up comfort to dedicate himself to physical labor. In reality, Enzo himself doesn't know why he does what he does; at least, not until his friendship with a Ukrainian migrant helps him understand the privileged position from which he views a world in turmoil and, above all, which bodies are stirring it. Without room for hyperbole, Enzo

embraces the lowercase to unfold as a beautiful paradox: a testamentary work that prefers to look towards moments of vital formation, when all experiences and possibilities are open.