This isn't a Call Me By Your Name subject deserving of its own entire lengthy post since it's already been mentioned here and there by folks previously - how the flouncy face-threaded shirt that Elio wears in the final scenes of the movie is an echo of the flouncy flowery shirt that his father coerces him to wears earlier in the film, and how his seeming surrender unto the world of flouncy shirts symbolizes without underlining it his growing acceptance of his own gayness (the flower shirt was given to him by his parents gay friends, Isaac & Mounir, whom he'd be chastised for thoughtlessly ridiculing previously. "Is it because they're gay or because they're ridiculous?")
There was a dumb piece I read last week that got on my nerves (I'm not even going to link to it) that was about how CMBYN got "1980s Gayness" completely wrong, according to them anyway, because Elio & Oliver didn't dress like Boy George -- they apparently completely missed the point of the preppy fashions, and how this through-line to Elio's little transformation at the end with his eye-liner and fluffy hair, was making a statement about self-acceptance and expression, but whatever, I'm so used to bad dumb takes on CMBYN at this point. But it did make me want to ask this though:
And yeah okay fine as long as we're here I do have a couple more thoughts tangentially related to this storyline. I always have more! And it's this: I find Oliver's behavior when Isaac & Mounir come to visit really interesting. Remember this is the day that he's delivered Elio the happy "See you at Midnight" news. And yet Oliver books it out of there for the entire day. Why does he leave? Well the last time we see him is when he finds out that Isaac & Mounir (or "Sonny & Cher" as they're nicknamed) are coming over for dinner.
Sidenote: If you focus on Michael Stuhlbarg during this scene you see something we don't see from him anywhere else in the movie - he is pissed off. He glares at Elio, chides him (the first of two times) for using the derogatory nickname, and storms off. Isaac & Mounir are the only proper Gay Couple that we see in the film, and I think it's fascinating to watch the way they disrupt the narrative.
In the book the Perlmans have tons of guests coming and going but we see very few of them in the film, and I think it's vital, both that Guadagnino chose these two as the ones we see (they weren't characters in the book) and from there to see how all of the character's reactions to these specific two play out. Elio's Father doesn't want them being made fun of. As I've said before I'm not convinced that his speech at the end has anything to do with his own unexplored sexuality, but he's clearly peeved at the sexuality of older gentlemen being mocked. Annella is, as usual, more relaxed about all this - Elio says "Sonny and Cher" is actually what she calls them. One assumes, since there doesn't seem to be a mean bone in Annella's body, that there's a story behind this - we can also see that her husband is touchy about it too, though.
And then, to get back to my main point, there's Oliver. No matter what Oliver's plans might have already been for the day - he did already put Elio off until midnight, after all - the way this plays out on screen is that Oliver rushes out of there the minute he finds out there are Openly Gay Men headed to the house, and he doesn't come back until late, avoiding Isaac & Mounir altogether.
This is not surprising! Oliver, firmly ensconced in his closet, is probably somewhat terrified of gay men who are not in the closet. There were (and remain to this day, although obviously in altered forms) entire hierarchies and structured behaviors that had and have to do with gay men's levels of comfort towards Explicit Gayness, and CMBYN is smart enough to show that in action. Elio's ease with Isaac & Mounir, even if he did have some issues to work through, shows him heading towards a healthier acceptance of his own queerness, as opposed to Oliver's complete avoidance. That is to say, Elio will wear the flouncy shirt and he will like it, dammit.