NYFF Review: Queer

Writer/director Luca Guadagnino already delivered a must-see movie for 2024 with Challengers — which is absolutely stellar and ranks among the best films of the year.

At the New York Film Festival, the director cues up the romantic-epic Queer, a film brimming with Oscar potential which finds the filmmaker returning to his romance-driven roots. Unfortunately, despite some incredible aspects and performances, Queer falters due to its abstract nature. 

The film, based on William S. Burroughs’ 1985 novel of the same name, takes viewers into a post-WWII Mexico City where American outcast Lee (Daniel Craig) becomes infatuated with a younger man named Eugene (Drew Starkey). Craig’s performance is an incredible centerpiece to Queer that Guadagnino works off of excellently. As always, Craig brings a sheerly captivating screen presence from the start. Yet he really stuns in how he plays off of Lee’s struggles with vulnerability. Despite Lee existing within this small, but very open sect of gay men, he feels totally trapped within this persona he’s crafted. Socially, he comes off a tad cavalier in his approach and exudes a sense of self-confidence that Craig adds some personal charm to. Yet, there’s a yearning for something more that hurts and it’s clear that Lee is somewhat haunted by time as well since he’s not getting any younger. 

Although Lee has sturdy walls up, there are cracks that can’t hide themselves – especially when Eugene comes around. Right from his first gaze towards Eugene, there’s this palpable connection between them that’s raw and powerful. You feel how Lee is drawn to Eugene like a genuine first love. It’s pretty fun how Eugene doesn’t totally let Lee in so easily. Starkey puts in a breakout performance that matches Craig’s presence, and ultimately evokes the same kind of complexity. Frankly, it’s what makes their dynamic on-screen so compelling as it bursts with emotion, ecstasy, and passion. You’re totally soaked in the sparks of their relationship and how it builds from purely physical into something that deeply impacts both men. Not to mention, Guadagnino does such a great job capturing this relationship and elevating its power through incredible technicals. 

Queer, like all of Guadagnino’s films, is a top-notch watch because it features Oscar-worthy aesthetics at every level. There are scenes where Guadagnino extends Lee’s feelings towards Eugene through apparitions that are visually tender and moving. The cinematography from Sayombhu Mukdeeprom and set dressing of Mexico City are a genuine treat for the eyes because the style, colors, and sun-soaked atmosphere give the experience a distinct feel. Plus, let’s be real, Trent Reznor and Atticus Ross do it again with ease by delivering another standout score that weaves itself into the developing emotions of these two central characters. Guadagnino also shows some good storytelling in the first half. The opening sequence hinting at what’s to come through unclear but intriguing visuals is nice. Also, the pacing and flow of the narrative really lets you settle into this blossoming romance, and fans of Call Me By Your Name will likely feel at home with this version of Guadagnino. 

Unfortunately, Queer falls apart in a way that’s a little baffling as its story shifts gears too hard towards a new setting that overshadows everything. The second half goes on quite a tangent as it puts a stronger focus on something involving Lee’s studies. The film loses itself with time and becomes muddled by overcomplicated storytelling. The development of Lee and Eugene’s relationship takes a backseat to trippy and at times comical aspects of an unexpected adventure. There are some fun moments between Lee and Eugene with some super weird body visuals that are absolutely hypnotizing. However, Queer becomes nearly unreadable as a film. It’s too focused on a story direction that’s unsatisfying to watch and isn’t fun to follow. It gets even worse as its final stretch goes fully abstract in a way that’s downright confusing and leaves an off taste as the credits roll. The performances, overall, never falter – maybe aside from an over the top performance from Lesley Manville – but the magic of the film’s first half is lost and replaced with subpar storytelling and narrative direction. 

Queer has the right elements of an Oscar contender, including some imaginative work from Guadagnino, superb technical elements, and remarkable performances from Craig and Starkey. But, it’s tough to come away anything more than underwhelmed because of how the film sheds its identity too much in the second half and shies away from what makes its first impression so deeply compelling and strong.