Even without being familiar with his written work, I know that it is insane to adapt William S. Burroughs. Even peripherally you can tell that Burroughs is the kind of author who’s personal demons seep into every page, a true tortured artist with immeasurable talent but unable to get out from under himself. Never one to shy away from a challenge, director Luca Guadagnino opts to adapt Burroughs himself, transforming his film adaption of “Queer” into a mirror through the lens of Burroughs’ written work. It’s kind of the only way a story as desperate and explicit could ever be accessible to anyone, and even for Guadagnino it descends into a whole new level of weird. Thankfully, Guadagnino is smart enough and talented enough to execute everything with reverence and purpose, always making sure that no matter how abstract “Queer” gets – and oh boy does it ever – the undercurrent of his and Burroughs themes are never forgotten. “Queer” is a surrealist journey through one man’s self destruction, driven by addiction, longing, and loneliness so vast it ultimately consumes him.
I should tell you that for as dark and weird and dreamlike as “Queer” is, it is also really funny. Not in a slapstick sort of way, but more in a sharp, quick witted defense mechanism with which screenwriter Justin Kuritzkes injects into many of his characters, including his lead Willam Lee played by the excellent Daniel Craig. It is frequently light on its feet thanks to dazzling production design and beautiful cinematography. “Queer” follows Lee living as an expat in Mexico City in the 1950s. Lee wanders the clubs of the city in search of something, anything that can fill a void in his life that has been filled with opium and promiscuity. Lee becomes infatuated with a younger discharged Navy serviceman named Eugene Allerton (played by the equally excellent Drew Starkey), and seeks to foster a relationship with him despite many of his advances for something more meaningful being rejected or unreturned entirely. It becomes a dreamlike, almost meandering odyssey that takes them to places neither would ever expect, revealing much about themselves even if only one wants it to be shared together.
The desperation and sadness looming in every frame cannot be overstated, even as its imagery feels bursting with libations and the party life. Guadagnino is a master of quiet, stirring emotion, and “Queer” constantly simmers beneath the surface. There’s a sort of meandering about the city streets and a will they won’t they relationship that is both being pursued and declined, and to say that “Queer” is about anything is harder than you think. That’s largely because Guadagnino is unconcerned with a linear narrative and more concerned with what surrounds them and is boiling inside of them. You have to kind of sit back and accept what he’s doing, and allow the strangeness of the visuals to be inviting rather than off putting. “Queer” isn’t for the easily distracted and requires immense patience and insight in order the film’s forward intensity and uncompromising core to take hold. And that’s before we get into the numerous explicit sex scenes and insane ayahuasca trip in the third act.
I can say with confidence that if you’re of the “less sex in movies” crowd and the kind of moviegoer that needs action and things explained, “Queer” won’t be your speed. It’s simply not for everyone and that feels intentional from Guadagnino. He is clearly making a specific film for a specific person, but unlike so many directors making their passion projects a reality and often abysmal failures, “Queer” never feels self indulgent even if when it makes its way into indulgent territory. It moves because of his skillful and confident work behind the camera, but also because Craig and Starkey are simply mesmerizing. This is a career best from Craig, who is able to convey the aching longing behind his eyes even as he rambles about nothing quite humorously. Craig is unbelievably vulnerable, and conveys so much with so little so often throughout “Queer.” He is completely unafraid to dive into scenes that very few actors of his generation would be daring enough to be filmed participating in.
Craig manages to illicit empathy for a character who often times doesn’t deserve any. Lee is a man intolerable even at his best, and his destructive antics only drive him more and more into himself as he yearns to be free but can’t unlock the chains. “Queer” is elevated by what Craig does, and it is a truly remarkable performance. His only headwind from awards conversations is the subject matter itself, and how far Guadagnino is willing to go with the material. Same goes for Starkey, whose more reserved portrayal of Allerton perfectly demonstrates the emotional distance between the two men. Starkey is so measured and assured yet also vulnerable in his own way, allowing Lee in but only to a point, constantly pushing back when it is clear that this pursuer wants something more. “Queer” keeps Starkey shrouded in mystery, never revealing much about himself or why he even allows Lee to have any part of him.
His almost stoic, emotionally unavailable attitude towards his pursuer only exacerbates the longing of Lee, and “Queer” is powered by that dynamic and performance of these two men. There is so much depth required from them both that must be disguised under who they want others to perceive them to be, and Guanagnino wrestles and toils with these ideas constantly. Longing has never felt so visceral, and “Queer” brings that to life with incredible visual flare and powerful, daring performances. I have to give a shoutout to Jason Shwartzman, who, “Megalopolis” aside, continues to show up and be the best part of any scene he’s in no matter how small the part. Though rarely shown, he nearly runs away with “Queer” as a close friend and confidant of Lee, and without being the stereotypical comic relief still manages to relieve the tension with humor when needed.
“Queer” is certain to have plenty of detractors, and I can’t fault anyone for not sticking through it. It’s quite the rabbit hole of specificity and frankly isn’t meant for everyone. For that, Guadagnino has given us “Challengers” in the same year, which is probably much more a general audience speed. But for those looking for something a little off the beaten path and looking for something a bit more titilating and meaningful, more strange and thoughtful, somehow more restrained yet chaotic and surreal, then “Queer” was made for you. It is a film that has grown on me immensely upon reflection, and I am a sucker for films that bounce around in my head for weeks or months until I come around to them.
I wasn’t quite sure what to make of “Queer” at first watch, but overtime the desperate longing and unrequited love paired with an earnest portrayal of addiction struck me as deeply profound, and it just may be one of Guadagnino’s best films to date.
If for nothing else, he certainly raises the bar for the “let’s get weird” sentiment, which is saying a lot. I don’t know that I can highly recommend it, but I can recommend to see for yourself if “Queer” is for you or not.
Rating: 4 out of 5 Stars
“Queer” is in theaters Nov 27th. You can watch the trailer below.
