Luca Guadagnino’s “Queer”, a highly anticipated film adaptation of William S. Burroughs’ work, premiered at the Venice Film Festival, vying for the coveted Golden Lion. The film, a sun-drenched and dusty exploration of 1950s Mexico City and the American South, takes viewers on a journey through a haze of tequila, heroin, and ayahuasca. While initially captivating with its visually striking sequences, the film ultimately becomes a laborious experience, despite boasting two noteworthy performances: Daniel Craig as the film’s charismatic, albeit troubled, anti-hero and Drew Starkey from “Outer Banks” as the enigmatic object of his affection.
The opening credits effectively set the scene, showcasing a faded mattress in a Mexico City apartment adorned with a collection of objects – books, ashtrays, typewriters, and pistols – with centipedes crawling between them. This sequence, much like the film itself, is undeniably stylish but ultimately prioritizes arresting imagery over genuine substance, a tendency that grows increasingly frustrating as the narrative unfolds. The mattress belongs to William Lee, a hard-drinking American expat who spends his days and nights chasing fleeting encounters, cruising the city’s bars in search of the next alluring young arrival. Embodied by Craig in pale suits and matching trilbies, Lee embodies a captivating blend of a jaded, off-duty Bond and the flamboyant Benoit Blanc from the “Knives Out” franchise, though his romantic success pales in comparison to both, as the city’s young men seem to have learned to avoid his advances.
However, as he wanders the streets and witnesses a cockfight, Lee locks eyes with a captivating newcomer who offers him a knowing smile: Eugene Allerton, played by Starkey. A palpable spark ignites between them, and Lee is instantly enthralled. Both Craig and Starkey excel in portraying this initial, covert flirtation, though the scene’s slow-motion progression, accompanied by Nirvana’s “Come As You Are”, evokes a whiff of an outdated perfume advertisement, a sensation difficult to shake off. Despite this, both actors deliver compelling performances. Uncharacteristically, Lee attempts to get to know Allerton before making a move. Allerton, however, remains inscrutable, spending time with a woman who could be his girlfriend while welcoming Lee’s attention without fully committing. Starkey’s performance in these early moments is characterized by a delightful restraint and an alluring ambiguity, proving to be a formidable counterpart to Craig’s eager and uncertain Lee.
The moment of truth arrives when they return to Lee’s apartment, and after some initial hesitation, their attraction culminates in a physical encounter. The ensuing sex scene is remarkably tender, momentarily prompting the viewer to question if Lee has finally found the happy ending he has so desperately sought. However, as expected, the situation is not so simple. Allerton quickly tires of Lee, leaving him increasingly anxious about holding onto his newfound lover. Consumed by self-loathing, Lee begins experimenting with heroin and cocaine and becomes fixated on the idea of taking ayahuasca. With great effort, he persuades Allerton to embark on a journey through South America with him, promising him freedom and the opportunity to indulge in any desires he may have. Once they set off, Lee experiences a grueling comedown, but also uncovers an intriguing lead that takes him deep into the Amazon in search of the drug he hopes will transform his life.
It is in this third act, as Lee and Allerton venture into the forest, that the film completely and spectacularly loses its way. Their journey leads them to a doctor residing in the wilderness (a disfigured and unrecognizable Lesley Manville). What was once a melancholic tale of addiction and unrequited love abruptly transforms into a bizarre, jungle-set comedy. The doctor and her partner host a “healing ceremony” for Lee and Allerton, which sends them both over the edge, triggering mind-bending visions that bleed into the film’s somewhat excruciating final moments. These numerous dreamlike interludes, including several that precede the ayahuasca experience, are among the film’s weakest points – visually striking, yes, but also tiresome and indulgent, testing the audience’s patience.
There is also a recurring image of Lee slowly disappearing in certain scenes, his body becoming increasingly translucent. This effect, especially in the early stages of the film as Lee and Allerton are getting to know each other, where we see Lee’s phantom limbs caressing the boy he has fallen for, a gesture he can’t perform in reality, feels awkward at best and painfully cringeworthy at worst. The heavy-handed use of CGI throughout, particularly in the South American shots which lack any distinct sense of place (perhaps unsurprising considering much of the film was shot at Rome’s Cinecittà Studios), further contributes to the film’s uneven quality.
Those who have heard rumors of the film’s reportedly explicit sex scenes will find that, while there is an early encounter between Lee and a handsome young man played by pop star Omar Apollo (in his big-screen debut), in which the latter is fully nude, the film feels strangely restrained beyond that point. The nudity is fleeting, and often, as bodies intertwine, the camera discreetly cuts away to focus on the room or the view from the window. It’s a perplexing choice.
Despite its flaws, Craig and Starkey deliver exceptional performances. Starkey’s sudden disappearance towards the end of the film leaves a lasting impact, his presence felt in every scene he appears in. His Allerton is thoughtful and affectionate but wary of Lee’s obsessive nature and opportunistic in his exploitation of it. Meanwhile, Craig injects his portrayal of Lee with an overwhelming and utterly desperate neediness that is touchingly tragic. He is a consummate entertainer, constantly cracking jokes and sharing witty anecdotes, yet constantly watchful of those around him, fearful of being discarded. Their relationship, as they lie in bed together, passionate yet cautious, forever trying to decipher their connection, is entirely believable.
Given the boos that echoed through the closing credits at the press screening I attended, it’s safe to say that “Queer” is unlikely to make a significant mark on the awards circuit or cause the kind of stir that Guadagnino’s previous film, the sexy and star-studded “Challengers”, generated. However, it would be unwise to dismiss Craig’s performance just yet. After years of dominating the franchise movie business, the actor has amassed a wealth of industry success and a significant amount of goodwill. This foray into arthouse cinema, a departure from his usual fare, is a bold move, and his performance is supremely compelling. Any accolades and awards he receives will be well-deserved.
