When William Lee strides through the smoky streets of 1950s Mexico City in Queer, his every movement is laced with tension—or perhaps it’s just the haze of drugs and desperation that cloud his actions. Directed by Luca Guadagnino, Queer adapts William S. Burroughs’ autobiographical novella into a visually arresting, emotionally charged meditation on dislocation and desire. Daniel Craig, shedding his Bond persona entirely, gives a raw and transformative performance as the dissolute American expatriate.

The narrative follows Lee’s infatuation with Eugene Allerton (Drew Starkey), a younger, handsome veteran who becomes the focus of Lee’s obsessive longing. Their connection begins amidst cockfights and late-night parties, evolving into a complex dynamic fraught with power plays, tender moments, and existential despair. Guadagnino stages their encounters with a painterly eye, balancing eroticism and vulnerability with exquisite care.

Guadagnino’s Queer diverges from the grotesque phantasmagoria of Burroughs’ Naked Lunch, opting instead for a subtler, more introspective tone. Yet the film retains the feverish intensity of Burroughs’ prose. The starkly beautiful cinematography—with its deliberate use of soundstages and intricate miniatures—creates a dreamlike quality that mirrors Lee’s fractured psyche. Jarring yet tender, the film invites the audience into Lee’s spiraling world as he pursues Allerton through Mexico and into the jungles of South America in search of yagé, a hallucinogenic drug said to unlock profound truths.

Daniel Craig inhabits Lee with a mix of predatory charisma and profound vulnerability. His performance is a revelation, marking a sharp departure from his action-hero roles. Drew Starkey’s Allerton, meanwhile, exudes an enigmatic coolness, perfectly complementing Craig’s raw energy. Supporting turns by Jason Schwartzman, as a satirical Allen Ginsberg stand-in, and Lesley Manville, as a mysterious ayahuasca expert, add texture to this evocative world.

The film’s exploration of queer identity and unrequited longing resonates deeply, even as Guadagnino’s polished aesthetic smooths over some of Burroughs’ rougher edges. This is both a strength and a limitation; while Queer captivates with its lush visuals and poignant performances, it sometimes feels too refined to fully capture the chaotic essence of Burroughs’ work. Still, Guadagnino’s interpretation stands as a testament to the enduring power of Burroughs’ themes and the versatility of his cinematic voice.

At its core, Queer is a story about seeking connection in a world that feels alien and hostile. Lee’s journey—both physical and emotional—is as much about confronting his own fragmented identity as it is about chasing Allerton. Guadagnino’s visual mastery shines throughout, from the warm, golden hues of sunlit plazas to the surreal otherworldliness of the jungle sequences. The climactic encounter with Dr. Cotter (Lesley Manville) and her enigmatic husband (played by filmmaker Lisandro Alonso) brings an eerie, almost mythological quality to Lee’s quest for enlightenment.

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Guadagnino employs symbolic motifs that echo the novella’s themes. Mirrors, often used to frame Lee and Allerton, hint at duality and the elusive nature of self-perception. Meanwhile, the recurring image of Lee’s white suit—pristine yet rumpled—becomes a metaphor for his dissonance: outwardly composed but internally unraveling. The tension between these elements amplifies the film’s emotional gravity, making Lee’s search for connection and meaning all the more poignant.

Jason Schwartzman’s portrayal of Joe, a lampoon of Allen Ginsberg, injects moments of dark humor into the narrative. His exaggerated mannerisms and sardonic dialogue serve as a counterpoint to the film’s heavier themes, highlighting the absurdity of Lee’s predicament without diminishing its emotional weight. Similarly, the soundtrack, featuring Nirvana and other evocative tracks, bridges the gap between the story’s mid-20th-century setting and its timeless exploration of human longing.

As Lee and Allerton’s journey progresses, Guadagnino delves deeper into their shifting power dynamics. The intimacy of their bond is juxtaposed with moments of stark alienation, underscoring the fragility of human connections. The film’s final act, set in the lush, untamed jungles of South America, is both a literal and metaphorical descent into the depths of Lee’s psyche. The hallucinatory sequences here are among the film’s most visually arresting, blending Guadagnino’s signature elegance with a raw, visceral intensity that mirrors Lee’s unraveling.

Queer is not just a tale of obsession; it is a meditation on the human condition, exploring themes of love, loss, and the relentless pursuit of identity. It asks profound questions: Can we ever truly know another person? Can we even know ourselves? In Daniel Craig’s ravaged charisma and Luca Guadagnino’s sumptuous direction, the film finds its answers—not in resolution, but in the beauty of the search itself. It is a haunting, layered work that lingers long after the final frame.

Rating: ★★★★¾

REVIEWED AT THE 62ND NEW YORK FILM FESTIVAL AT ALICE TULLY HALL ON october 7, 2024
Rated R for drugs and sex. Running time: 2 hours 15 minutes. In theaters.

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