Shocking! Daniel Craig Transforms into a Lonely Expat in ‘Queer’ – A Must-See!

Luca Guadagnino, the renowned director, has established himself as the foremost portrayer of on-screen erotic longing, especially with his remarkable achievements in 2024. His spring release, “Challengers,” garnered widespread attention due to its steamy tennis scenes. He has once again brought together the same creative team for his latest project, “Queer,” a vivid and intense adaptation of the 1952 novella by William S. Burroughs, which was published in 1985.

At first glance, “Queer” appears to diverge sharply from the glossy, adrenaline-fueled experience of “Challengers.” However, both films essentially capture the essence of sensual cinema and the subconscious. While “Challengers” derives its erotic tension from repression, control, and repetition, “Queer” is a sprawling, sometimes grotesque, fever dream of chaos. Though “Queer” is somewhat disjointed (a characteristic much appreciated by the Beat generation), it adheres to a central theme of longing, brought to life through poignant, unforgettable moments of sound and imagery.

Justin Kuritzkes, the screenwriter who also worked on “Challengers,” adapted “Queer” for the big screen. Daniel Craig stars as William Lee, a writer and stand-in for Burroughs, who spends his time in early 1950s Mexico, drinking and mingling with a group of gay American expats (played by Jason Schwartzman, Drew Droege, Ariel Schulman). One evening, Lee spots Eugene (played by Drew Starkey) in a memorable character introduction — a slow-motion walk past a cockfight set to Nirvana’s “Come As You Are” — and instantly becomes infatuated with the enigmatic and attractive young man.

“Queer” explores numerous themes, including the excessive use of mind-altering substances, but primarily, it portrays the profound awkwardness of experiencing an overwhelming crush. Craig delivers a brilliant performance, showcasing the clumsy, awkward actions Lee takes in Eugene’s presence: an ill-received playful bow, over-talking, and drunken stumbles. His desperation for Eugene’s attention, which is sparingly given, is palpable.

Starkey, best recognized for his role in the Netflix teen drama “Outer Banks,” skillfully portrays Eugene as an elusive object of desire, seen through Lee’s eyes. As a former military intelligence officer, Eugene is enigmatic, allowing people to project their desires onto him. His sexuality is ambiguous, seemingly opportunistic. He leaves such a lasting impression on Lee that it haunts him for the rest of his life.

The duo embarks on a journey to the Amazon in search of a mystical drug known as yagé (or ayahuasca), with Lee hoping to use it to achieve telepathy. His ultimate goal is to develop a deep, authentic connection with Eugene, even if the reality might disappoint him.

In terms of visuals and sound, “Queer” is a rich and evocative film, capturing moments of intense anticipation, allowing viewers to experience the same thrill. Nothing can match the intoxicating allure of a clinging white undershirt or the sight of a throat straining for a kiss. The ultimate high is having the person you desire lay their leg over yours. Lee may chase sex, drugs, and telepathy, but what he truly craves are the moments leading up to the act.

This is best captured by Guadagnino and his team, including cinematographer Sayombhu Mukdeeprom and editor Marco Costa. Production designer Stefano Baisi recreates 1950s Mexico (or its memory) on Italian soundstages, while composers Trent Reznor and Atticus Ross provide a score that enhances the film’s mood, complementing the anachronistic pop soundtrack and diegetic music.

However, Jonathan Anderson’s costume design is truly breathtaking. As the creative director for the Spanish fashion house Loewe, Anderson dresses the agile Starkey in worn-out polos and perfectly fitted trousers, and Craig in Burroughs’ signature linen suit and glasses. The outfits play a critical role in the storytelling, from Schwartzman’s laugh-inducing huarache sandals to Droege’s flamboyantly adorned suits.

The circumstances surrounding Burroughs’ writing of “Queer” are heartbreakingly tragic, and Guadagnino acknowledges these real-life details without making the film a biopic. He is more interested in the protagonist’s mental state, which is troubled, clouded by drugs and alcohol, and driven to near madness by desire.

Despite the film’s excessive length, it leaves an unforgettable mark due to its fantastical yet deeply human emotional core. Of all the memorable scenes, the sight of two pairs of legs intertwined on a bed is the most poignant. Isn’t that what we all truly desire?

Katie Walsh is a film critic for the Tribune News Service.