Rating: 8/10
Luca Guadagnino’s “Queer” dissects the complexity of gay relationships through the lens of an opiate-addicted American in Mexico City during the 1950s, mirroring the life of the film’s inspiration, William S. Burroughs.
Based on Burroughs’ novella of the same name, the film follows William Lee (Daniel Craig), a suave American — also addicted to heroin and cocaine — who becomes infatuated with young discharged Navy serviceman Eugene Allerton (Drew Starkey).
Together, they travel to the Amazon in search of yage, a mixture made from ayahuasca vines and other plants. The drug was also notably described by Burroughs, who wrote letters to poet Allen Ginsburg describing the experience.
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The film contains many deep ties to Burroughs’ life. The novella is autobiographical of Burroughs’ own experiences in Mexico City as he struggled with addiction. The protagonist’s name, William Lee, was Burroughs’ pen name for several publications.
However, the film goes beyond the novella’s plot, which solely focuses on Lee’s time in Mexico. In the movie’s second and third parts, Lee and Allerton explore South America and try yage in Ecuador with help from American researcher Dr. Cotter (Lesley Manville).
The tones of each of these parts are starkly different. The first chapter is sultry and quiet as Lee bumbles through strange interactions and parties to get closer to Allerton. Guadagnino expertly captures the delicate social atmosphere of a society that is unwilling to accept queer men.
The second and third chapters take on more metaphysical characteristics as the drug yage comes into play. Pure desire begins to drive Lee forward as he pushes past opiate withdrawals and a deteriorating relationship with Allerton to capture the “telepathic powers” he thinks yage will provide.
Exploration of gay relationships is a common theme within Guadagnino’s other movies, such as “Call Me by Your Name” and, more recently, “Challengers.” “Queer” continues this trend, albeit in a wilder and less overtly sexual way.
The sex scenes in “Queer” aren’t thrilling or frantic — they’re quiet and almost somber, as Lee clings on to what little hope he sees in Allerton and himself. Guadagnino adapts to this tone just as well as his other films and captures a desperation that general audiences likely aren’t used to but that queer audiences will recognize well.
Craig is fantastic throughout the film. He perfectly captures the awkward and pathetic nature of an older queer man who still struggles with his sexuality. Along with his desperate actions and uncomfortable movements, Craig masterfully portrays the desire for personal connections in its rawest form.
Starkey also plays a manifestation of this desire, although not as outwardly clear. His quieter performance is cautious as Allerton struggles with his feelings in the face of emotional connections.
Together, both actors create a wild chemistry at which the film centers. It’s best seen at the end of the film when both characters take yage and, in a transcendent scene, appear to fuse in and out of each other in a dance.
Guadagnino uses these symbolic scenes to emphasize the complex dynamics at play, both in the relationship and within Lee himself. The film often jumps to clean soundstages with disembodied voices, characters and props that are as off-putting as they are intriguing.
While these scenes make sense within the context of the film, they can sometimes ask too much of the viewer. Some scenes reference Burroughs’ personal life, including his role in killing his wife, Joan Vollmer, by attempting to shoot a glass off of her head while drunk. They’re wonderfully explorative, but only for those familiar with Burroughs’ life.
The tone of the film also isn’t entirely consistent. At times, 2010s indie pop plays over scenes of Craig wandering the streets of Mexico City, which pulls the audience out of the established environment and back into the modern day.
“Queer” isn’t like Guadagnino’s previous films. It’s not a clear-cut romantic drama like “Call Me by Your Name,” and it’s certainly not a sensual thriller like “Challengers.”
But within its mysterious symbolism and quiet longing is the story of Burroughs. Guadagnino invites the audience to explore Burroughs’ mid-century life through addiction and complex sexuality — a story that will resonate with viewers even today.
