At the end of 2024, the movie theater release lineups felt pretty unconventional. In December, a whirlwind of films like Robet Eggers’ “Nosferatu,” James Mangold’s “A Complete Unknown,” and Halina Reijn’s “Babygirl” were all released in local theaters on Christmas Day. To read an article about “Nosferatu,” check out “‘Nosferatu’ is the horror film audiences have been waiting for,” by Aakif Iqbal.
So the year ended with poetic retellings of Bob Dylan’s personal and musical life, retellings of centuries-old horror stories, and what seems to be a retelling of human desires reminiscent of Stanley Kubrick’s “Eyes Wide Shut.” It feels like 2024 ends with much to reflect on, much to consider and reconsider, and getting to the truth of things. In the midst of all these releases, though, one enigmatically stands apart – and that is Luca Guadagnino’s “Queer.”
In the recent past, film fanatics and casual viewers alike probably saw Guadagnino’s adaptation of Andre Aciman’s novel “Call Me By Your Name” in 2017 and “Challengers” this past summer. Both of these films work to establish a body of cinematic works by Guadagnino that explore the intricacies and difficulties of human desire, and namely, queer explorations of desire. Guadagnino’s growing cinematic canon reflects an energetic build up towards “Queer,” which encompasses all of the pent-up yearning, desire and climatic forces. These attributes may have only been hinted at, or touched ever so briefly, in his past films.
If the language being used hasn’t hinted at it yet, it should be stated bluntly that “Queer” is very much not a film that will appeal to everyone. This film is absolutely spilling with visual depictions of human desires at their most primal, instinctual state, which can toe the line between erotic and pleasurable, yet perhaps off-putting and abject.
However, “Queer” is also a film that simply seeks to reflect on what it’s like for human beings to experience pain, love, curiosity, passion and the longing for connection with another human being – a universal feeling.
Luca Guadagnino’s “Queer” is an adaptation of William S. Burroughs’ novel of the same name, which is set and originally written in the 1950s. The tale follows the central characters, William Lee and Eugene Allerton, two expat-Americans living in a dreamlike, warm and sensuous Mexico City. In the film, Guadagnino calls to a Wes Anderson-esque color scheme of vivid scenes with natural sunlight, shadows and surrealistic hues that make watching the entire movie feel like looking at a pile of film photos found discarded at some thrift store; it’s a time capsule of someone’s memories lost to time.
“Queer” focuses solely on its male main characters, as well as their relationships with other men–in other words, Guadagnino creates an idealized homosexual haven out of Burrough’s memoiristic depiction of 1950s Mexico City.
The film runs about two-and-a-half hours long, which might demand serious commitment for something that doesn’t necessarily have the most compelling plotline. The film follows the perspective of middle-aged William Lee, exceptionally portrayed by Daniel Craig, who is a bohemian layabout artist of sorts. He seeks the company of younger men, initially under the intention of using them as inspiration for his artistic practice. Like many artists of the time, Lee has many insatiable desires for life’s vices, like booze, heroin and questionable sexual encounters.
When he meets Eugene Allerton, Lee is immediately enamored by the young, ex-soldier played by up-and-coming actor Drew Starkey. Lee’s yearning comes to a head when he convinces Eugene to accompany him on an impulsive trip to South America, with the intentions of finding a shaman to administer the psychedelic medicine ayahuasca to the men. The journey is, in part, an effort by Lee to see if he and Eugene can “speak to each other without words.” Much of the film is marked by this sense of desperation and desire that Lee has, both to heal things within himself, but also to connect to the mysterious Eugene beyond the physical level.
Overall, this film is surreal, captivating, emotional, slightly disturbing and fully undeniably beautiful. To be honest, though, the viewers that will get the most out of this film are those that resonate with, or are at least fond of, the thematic explorations of queer desire, pain and storytelling. “Queer” is a film that lingers in the doorway of your mind like a lover with something to say that threatens to remain unsaid, bidding a look of subtle acknowledgement.
