Review: A reinvented Daniel Craig burrows into the heart of a lonely expat in ‘Queer’

As a cinephile who has spent countless hours immersed in the intricate worlds of cinema, I must say that Luca Guadagnino’s 2024 masterpiece, “Queer,” stands out as one of the most captivating and thought-provoking films I’ve had the pleasure to witness. Having recently revisited the steamy tennis courts of “Challengers,” it was evident that both films share a common thread – an exploration of raw, unbridled desire. However, while the former delves into repression, control, and repetition, the latter takes us on a wild, unforgettable journey through the chaotic depths of unrequited love.

During his outstanding year in 2024, director Luca Guadagnino has demonstrated his exceptional ability to portray passionate desire on screen. His film “Challengers,” a sensual tennis drama, caused quite a stir with its steamy matches, and he’s reunited his creative team for the enigmatic and intense “Queer.” This project is an adaptation of the 1952 William S. Burroughs novella that was first published in 1985.

At first glance, “Queer” might seem worlds apart from the glossy, high-octane excitement of “Challengers.” However, upon closer examination, both share an undercurrent of cinematic passion and subconscious exploration. Unlike “Challengers,” which derives its sensuality from themes of repression, control, and repetition, “Queer” is a sprawling, at times grotesque, dreamlike depiction of chaos. It’s raw, often incoherent (as the Beat pioneers preferred it), but it consistently adheres to a core idea of longing, which is powerfully conveyed through heart-wrenching, indelible instances of sound and visuals.

As a devoted fan, I’m thrilled to share that screenwriter Justin Kuritzkes, known for “Challengers,” has brought “Queer” to life on the big screen. In this captivating adaptation, the renowned Daniel Craig portrays William Lee, a writer with means, living it up and getting tipsy in Mexico during the early 1950s amidst a vibrant community of gay American expats, including Jason Schwartzman, Drew Droege, and Ariel Schulman. One fateful night, I find myself captivated by Eugene (Drew Starkey), who makes an unforgettable entrance – striding slowly in slo-mo past a cockfight, set to the haunting rhythm of Nirvana’s “Come As You Are.” From that moment on, I can’t help but be utterly enamored by this enigmatic and handsome young man.

The term ‘Queer’ encompasses various aspects, predominantly the excessive intake of substances that alter one’s mind, however, its essence lies in the profound mortification of developing an intense infatuation. Craig delivers a remarkable performance, exposing both his physical and emotional self, but excels particularly in portraying Lee’s clumsy, uncomfortable actions around Eugene. This includes the misguided attempt at humor, overtalking, speaking too rapidly, drinking excessively and falling down in public, all of which fail to impress Eugene. Craig masterfully captures Lee’s overeager, tactile, and attention-seeking behavior towards Eugene, who is known for being stingy with his affection.

Starkey, famed for his part in the Netflix teen series “Outer Banks,” masterfully embodies this standout character, portraying Eugene as an enigmatic figure of attraction for Lee. Given his past in military intelligence, Eugene serves as a puzzle, enabling others to impose their own desires onto him. His sexuality appears ambiguous and seemingly strategic. In a movie centered around longing, he leaves Lee in such a puzzling condition that it lingers in the man’s memories for years to come.

The duo embarked on a journey to the Amazon in pursuit of a mystical potion called yagé (also known as ayahuasca), with Lee hoping to employ it to attain telepathic abilities. His aim is to establish a sincere, affectionate link with Eugene, enabling a seamless exchange of thoughts, although he might be disheartened by the truths he eventually uncovers.

In both sight and sound, “Queer” is a richly textured, stirring composition that captures the exhilarating sensation of heightened expectation – an elusive thrill we as spectators are drawn to chase. There’s no substance comparable to the potent allure found in the touch of a white undershirt or the positioning of a neck yearning for a kiss. The most intoxicating rush one can experience is the individual you yearn for, casually resting their leg on yours in bed. Rather than pursuing sex, drugs, and telepathy, Lee seeks these moments leading up to them, not the acts themselves.

Guadagnino and his crew, consisting of cinematographer Sayombhu Mukdeeprom, editor Marco Costa, production designer Stefano Baisi, and musicians Trent Reznor and Atticus Ross, all excel in capturing the essence of 1950s Mexico (or its recollection). Stefano Baisi skillfully re-creates this era on Italian film sets, while Trent Reznor and Atticus Ross provide a melancholic and whiny score that harmonizes with the non-period pop soundtrack and background music.

However, it’s Jonathan Anderson’s costume designs that leave you astonished. As the creative director for the Spanish fashion house Loewe, Anderson dresses Starkey in worn-out polos and impeccably tailored trousers, while Craig is seen in Burroughs’ signature linen suit and glasses. The costumes play a significant role in storytelling, with Schwartzman using huarache sandals as a joke, and flamboyant embellishments on Droege’s Dumé’s suits.

In the world of Burroughs’ novel “Queer,” there’s an overwhelming sense of heart-wrenching sadness. Guadagnino, when discussing the film adaptation, avoids making it a traditional biographical piece. Instead, his focus lies primarily on portraying the protagonist’s mental state, which is tormented, disoriented due to substance abuse, and on the brink of madness from longing.

If a movie is excessively lengthy (and indeed, it is), it still manages to create an unforgettable impact. Despite its surreal moments, it maintains a strong connection with deeply human feelings. Among the many striking visuals, none are quite as poignant as the simple scene of two pairs of legs on a bed. In essence, that’s all we truly crave in cinema, isn’t it?

Katie Walsh is a Tribune News Service film critic.

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2024-11-28 02:31