Queer ★★★½

“I’m not queer, I’m disembodied.”

William Lee (Daniel Craig) is an American expat. He lives in Mexico City and spends his time partaking in opiates and pursuing men. He has left the United States, somewhat as an outsider, and his journey at this point in his life can be best described as meandering. At first it seems his exploits are largely driven by id though as we spend more time with him, it becomes clear that Lee yearns for affection and for a sense of connection. His means of satisfying this – casual encounters and hallucinogens – few would argue are effective, though this is the approach Lee takes. Craig portrays the character of William Lee as tragically somber. Oddly enough, there’s some sentimentality to be found behind carnal desire.

As Queer is set in the 1950s, Lee has to determine whether the men he is pursuing are actually queer since the men will often not present themselves as such. Lee finds himself drawn to Eugene Allerton (Drew Starkey), a fellow American expat, and becomes entranced by the clean cut, fitted shirt-wearing Allerton. Allerton presents himself with confidence, aware of his youth and appearance, and seems to return some of Lee’s interest. Confusingly to Lee, Allerton also spends most of his time with a girl though it is unclear if she is his girlfriend. Lee and Allerton’s initial conversations are filled with anticipation yet hesitation as Lee tries to gauge whether Allerton is interested in him. Even once the two become intimate with each other, it is never clear what Allerton wants or feels in their relationship. Lee desires affection and to be loved while Allerton always seems a little distant, though Allerton makes it clear he enjoys being with Lee. While Lee is transparent in his feelings towards Allerton, it is always a bit of a mystery where Allerton wants this relationship to be or what he wants from Lee. This mismatch helps to portray Lee as a sentimental person as Allerton’s distantness from Lee means that Lee remains yearning for connection.

As he is listless in Mexico City, Lee suggests to Allerton that they visit South America to search for yagé, a powerful drug that is said to enable telepathy. To American audiences, this drug is better known as ayahuasca. Allerton is reluctant to accept Lee’s invitations to travel with him. Allerton is concerned about his independence if he were to rely on Lee as a guide for their travels. Nonetheless, Allerton agrees to accompany Lee in Lee’s hallucinogenic odyssey and the two venture into the forest in search of Dr. Cotter (Lesley Manville) who can assist them in finding yagé. Once the two leave Mexico City, Queer leans into the surreal and it is Lee’s subconscious that drives his hallucinations and visions. As more time is spent in South America under the influence of yagé, Allerton’s clean cut aesthetic is peeled away by the humidity and exertion of traversing the forest. And when Lee emerges from South America, he styles his hair and freshens his appearance in the same way that Allerton does.

Like in most of director Luca Guadagnino’s films, themes of desire and love provide a strong undercurrent in Queer. Lee idolizes Allerton and from the changes the two experience in South America, love has, at least temporarily, faded some of their sense of self. Leaning into their desire and the pursuit of otherworldly experience, they figuratively become disembodied. And when disembodied, queerness is not a concept as it is dependent on gender, and therefore the physical self. Allerton’s concern of losing his independence – whether this is through falling in love or by succumbing to hallucinogens – is warranted and the pair’s journey into South America may prove to be transformative.

Queer was created by much of the same crew as Guadagnino’s Challengers, but to much different effect. Out is the tracking shots of tennis balls flying across the tennis court and realism, and in is a stillness of the camera and surrealism. To portray a Mexico City of decades-past, miniatures were created, unusual for contemporary-made films as this was a film production technique of the past. Along with costume design from Jonathan Anderson, creative director of Spanish luxury brand Loewe, and opening the film with songs from Nirvana, watching Queer is unmistakingly watching a work of fiction, one where the director and mise-en-scene is noticeable within every shot. It is commendable that a similar crew behind Challengers and Queer could produce two such visually distinctive films in quick turnaround.

Queer is adapted from the William S. Burroughs novella of the same name, and Daniel Craig brings a heart wrenching performance to the character of William Lee while Drew Starkey provides Eugene Allerton with a cool, but never unlikable, demeanor. For its postmodern story and connectedness in themes to Guadagnino’s filmography, audiences who frequent Guadagnino’s films or those who admire Burroughs’ work will find much to admire in Queer though the film may face an uphill battle finding an audience elsewhere.