‘Queer’ Review: Daniel Craig is Perfect and Drew Starkey is Revelatory in Luca Guadagnino’s Gay Chiaroscuro of Dreams and Desperation | Venice
Luca Guadagnino’s Queer, adapted from William S. Burroughs’ novel, opens with a nostalgic nod to Call Me By Your Name, using a splashy blue font to introduce the cast and crew against personal artifacts of the two main characters. After quickly setting the tone of intimacy, the film introduces Lee, played by Daniel Craig, a middle-aged, self-conscious expatriate navigating the vibrant but seedy underbelly of 1950s Mexico City.
When Lee first encounters Allerton (based on Adelbert Lewis Marker, Burroughs’ onetime lover and the man who inspired the novel), portrayed by Drew Starkey, he is immediately captivated; the young man’s striking beauty and enigmatic presence instantly turn him into an object of desire, almost a deity in Lee’s eyes. Lee’s infatuation quickly becomes evident, and Craig masterfully captures the awkwardness of a man captured by rampant desire. From hesitant walks and awkward greetings to lingering, covert glances, Craig’s performance illustrates a character who desperately tries to mask his longing, as if Allerton hasn’t already cast an irresistible spell over him. However, Lee grapples with uncertainty about Allerton’s orientation. Allerton’s reserved nature, his habit of observing from the sidelines, and his occasional companionship with a girlfriend at the bar leave Lee in a constant state of speculation, unable to decipher the young man’s true inclinations but compelled to remain in his orbit.
Craig’s portrayal of Lee’s obsession is corroborated by Guadagnino’s choice to introduce strange elements early on; we often see Lee’s hand reaching for Allerton’s face in a transparent, almost ghostly fashion. While these surreal moments signal the narrative’s intent to explore the abstract, Craig’s nuanced performance alone communicates the intensity of Lee’s fixation, capturing a man on the precipice of the sweet start of a glorified, albeit unfulfilled, romance.
When Lee and Allerton’s interactions start to deepen, Lee carefully navigates the line between friendship and romantic pursuit, inviting Allerton to explore the city and eventually to his home. Guarded and deliberate in his actions, Lee’s internal dialogue is never voiced aloud; instead, his silent questioning of Allerton’s sexuality and potential interest in him are eloquently expressed through Craig’s nuanced expressions. In a pivotal moment, Allerton allows Lee to touch him, leading to a tender first sexual encounter. This delicately handled scene, far less graphic than pre-release buzz suggested, signals the beginning of a complex and layered relationship between two men who, despite the apparent difference in intensity, find themselves magnetically drawn to each other.
As the narrative progresses, the younger Allerton starts showing signals of indifference—not in Lee himself, but in the relentless outings and conversations. Lee, deeply in love and eager to maintain Allerton’s attention, races to keep their connection alive. When he senses Allerton’s waning enthusiasm, Lee panics and makes a bold proposal: a trip to South America. Lee’s willingness to do anything to preserve the fragile bond he has with Allerton might come off as a desperate attempt justified by the lengths to which he will go to sustain this tenuous, intoxicating relationship.
In the film’s latter half, particularly during the segment titled “Botanist in the Jungle,” Lee and Allerton’s journey takes them deep into the heart of South America. Here, Lee’s quest for the elusive yagé (ayahuasca) plant known for its near-mythical hallucinogenic and some say telepathic qualities represents his yearning for a deeper connection and a more profound understanding of his relationship with Allerton. The introduction of Dr. Alice Cochran, portrayed with a wild and eccentric flair by Lesley Manville, adds a new dimension to conclude the story. As a reclusive botanist who has abandoned society to pursue her experiments in the jungle, Manville’s character becomes a key figure in Lee’s pursuit, guiding him toward the mystical plant he believes will bridge the emotional and existential gaps between him and Allerton. This chapter, rife with hallucinogenic visuals and a surreal sequence, thrusts the film into a dreamlike exploration of escape, transcendence, and the desperate search for telepathic connection.
Daniel Craig is perfect as Lee, capturing the awkwardness and enthusiasm of a man desperately seeking intimacy in a world that feels insensible to his needs. His Lee is both an observer and a participant in the strange dance of desire, rendered with dry wit and sardonic humor that echoes Burroughs’ original tone. Opposite Craig, Drew Starkey delivers a revelatory performance as Allerton, the enigmatic object of Lee’s desire. Starkey embodies the youthful allure and detached demeanor of Allerton with an impressive subtlety that captures the essence of a man caught between being desired, indifferent at times, and some other time, inexplicably fascinated by the mesmerizing presence of this man in his life. Starkey’s eyes convey a depth of character and emotion that words often fail to articulate. Starkey’s portrayal of Allerton is not just about playing the young, desired man; it’s about the silent resistance and unspoken struggles of a character who is unsure of what he wants or how to respond.
Luca Guadagnino’s direction in Queer is both confident and dreamlike. His adaptation transcends a mere narrative of unrequited love and has more to do with wandering human beings craving for significant ties. His visual storytelling evokes a captivating beauty, capturing the essence of Lee’s interactions with Allerton —whether they are drinking, traveling, or quarreling— through a lens that knows how to capture a sensory experience. This is achieved through a combination of Guadagnino’s signature aesthetics, Sayombhu Mukdeeprom’s eyes for every detail, and the meticulous work of production designer Stefano Baisi, who rebuilds 1950s Mexico City in Italy’s legendary Cinecitta Studios with both authenticity and surreal charm. Baisi’s designs create a visually striking yet not overwhelming backdrop.
The surreal elements in Queer are a deliberate homage to Burroughs’ original vision, echoing the author’s penchant for blending reality with the often drug-induced fantastical. While these stylistic choices occasionally risk alienating the audience by distancing them from the raw humanity of Lee’s experiences, they are crucial in honoring the novel’s core. Burroughs’ work often calls for such an abstract and immersive approach to capture its spirit, and Guadagnino’s risk-taking, in this regard, serves to do justice to the source material despite moments where the surreal may seem to submerge.
Grade: B+
This review is from the 2024 Venice Film Festival where Queer had its world premiere in competition. A24 will release the film theatrically in the U.S.
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