Edited by Cameron Cade
This review does contain spoilers
★ ★ ★ ☆ ☆ - ‘Queer’ is a story of obsession and addiction, manifesting itself in the form of William Lee’s love interest, (If you can call it that) Eugene Allerton. Director Luca Guadagnino masterfully takes us through the story of an aging William Lee battling with his inner turmoil as he clings to the idea of love that never existed. The story takes us from 1950s Mexico City to the Ecuadorian jungle, much of its 137 minute run-time is spent unravelling Lee’s obsessive nature, but the final act feels like a slow descent into madness. Guadagnino allows for the long, drawn out nature of act three to explode into a cinematic moment, a payoff for a 3rd act that might test some viewers patience. While act 3 draws to a long close - it highlights the long and challenging journey our two characters have been on.
Ultimately, ‘Queer’ leaves us with a feeling that lingers, something raw and unforgettable.
Background
If you were anywhere on the internet at the start of 2024, chances are you’ll have heard & of ‘Challengers’, a largely-successful original by director, Luca Guadagnino, that took the internet by the hand and led us through a complex love triangle of the weird and wonderful. You’d be forgiven for mistaking ‘Challengers’ as some competitive sports-drama, but in true Guadagnino style, it explores themes of rivalry and control. But where does that leave us with ‘Queer’? Guadagnino’s 2nd release of 2024, and instead of sweaty tennis courts and sultry americana, This story takes us to the Gritty backstreets of 1950s Mexico City.
Review
We are quickly introduced to William Lee (Daniel Craig), an American living in the city. On the surface, Lee is an “obvious” character, his obsessive, self-destructive nature is clear from the start. Guadagnino wastes no time introducing us to his impulses, throwing Lee into acts of desperation after a perceived rejection by Eugene Allerton (Drew Starkey). This character becomes important as the story continues. Lee heads to the next bar, and soon enough, the next man. Seemingly unmoved by the rejection. The film moves at a relentless pace, barely allowing a moment to breathe before the scene shifts from bar to bedroom. (or, more accurately, a rundown motel.)
Lee is later reintroduced to Allerton, their eyes locked across a chaotic street scene, separated by a cockfight (no pun intended). The moment is intense, as if Guadagnino wants us to know this connection is important. But the standout choice here is the music, Nirvana’s Come As You Are blares over the scene, fading in and out. The moment feels incredibly disorderly, signaling a shift in Lee’s approach, from prowling addict to something more grounded, more real.
It is at this stage, a shift in Lee’s character is revealed. What I originally saw in Lee was an obvious character arc, becoming anything but. Guadagnino starts the long process of peeling back the layers to Lee's complexities. At no point throughout the movie could I predict where Lee would take us next. Just when I thought I had it, another layer of self-destruction and vulnerability becomes clear, completely engaging me in how Lee's character develops. At the risk of making a fork-found-in-kitchen obvious statement, I have to note that Lee’s character absolutely stole the show with his twists, turns and unravelling layers.
At first, it's easy to see Lee as the predator and Allerton as his prey, but Guadagnino doesn’t let that assumption linger. It’s revealed that the two have been spending time together as friends, drinking buddies, for weeks, a dynamic that feels unusual given Lee’s restless nature. Their first time sleeping together is intense, but instead of solidifying their bond, it marks a shift, Allerton pulls away. It plays into the all-too-familiar queer trope of one half losing interest, though in 1950s Mexico City, it's not as simple to Ghost someone. I counted 3 times the pair simply ran into each other prior to their friendship forming, making the city feel incredibly small.
Interestingly, it’s Allerton, not Lee, who becomes distant, turning the expected dynamic on its head. A tense restaurant scene reveals Allerton’s inner turmoil as Lee openly discusses his queer identity. From here, communication between them breaks down completely, sending Lee into a spiral. A painfully awkward party scene shows him, drunk and desperate, almost pleading for Allerton’s attention. In a last-ditch effort, he suggests a trip to South America. Reluctantly, Allerton agrees, on the condition that he keeps his independence. It's easy to assume that this means an independence from Lee, but considering the themes of Lee and Allertons relationship, the independence from the label of ‘Queer’ is more apparent. A label Lee defines and explores, while Allerton seems to actively avoid.
The first time Lee and Allerton have sex, as a viewer, is an exciting payoff to the quickly established story. The scene is tender, with a few laughs exchanged. Moving into the 2nd half of the movie, in South America, we see the pair have sex a 2nd time. This time, Allerton allows Lee to take control. This scene is more raw and revealing, with an unspoken tension that the pair seem to be drifting. Lee tries to move in too soon after this, and Allerton reacts somewhat violently, pushing Lee to the ground. Although apologetic, it leaves no question as to the independence Allerton wants to assert. Guadagnino is careful to strip away any sense of romance from this scene.
In review, the 2nd half of the movie is incredibly story-rich, and really highlights the change in dynamic between the two. Lee, who starts the movie as an addict, frantic, impulsive, switches to a character who’s key focus is validation from Allerton. We go from an imposing, confident figure, to almost desperate. With Allerton, it’s clear the connection between the both, that Lee works so hard to prove still has weight, has lost its spark and its meaning. All while we seem to be diving more and more into Lee’s disassociation. The vibrant streets of 1950s Mexico city are substituted with the unending South American jungle. As Lee searches for a hallucinogenic plant that he's sure will grant him telepathy, his intentions for inviting Allerton along become clear. Guadagnino’s camera work distorts and disjoints our characters, possibly reflecting Lee’s deteriorating state of mind.
As the film reaches its final act, the unspoken tensions between Lee and Allerton rise to the surface. Lee's obsession with finding the hallucinogenic plant reveals what he wants most; to finally understand how Allerton feels about him. His fixation on Allerton drives him further into self-destruction. The weight of Lee’s delusion becomes almost impossible to ignore. What began as a pursuit of passion and acceptance has turned into something from a nightmare. A relationship that exists more in Lee’s mind than. Allerton’s indifference is no longer subtle, frankly, it's glaringly obvious. (Well, seemingly obvious to everyone but Lee, who can't seem to let go of the idea of Allerton.)
As the movie ends, Guadagnino doesn’t offer closure or redemption to Lee's character. In the end, he's seen as just a man lost in his own longing and self-destruction.
Queer is not a love story by any sense, it's a story of obsession. Exploring the “what if” of Lee’s desire as it manifests into something hollow. And In true Guadagnino fashion, it lingered long after I left the theatre. Allerton’s detachment from Lee is echoed by his own words; “I am not queer, I am disembodied”.
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