Luca Guadagnino triumphantly returns with his second film of the year Queer. Following the spring sensation Challengers, Guadagnino takes a different approach to Queer but maintains the same feelings of desire. To rival Challengers’ speed, sweat, and steam, Luca creates a slow and mystical environment that includes notes of David Lynch's specifications with Queer.
Queer follows William Lee (Daniel Craig), an American ex-pat living in Mexico City amongst a variety of companies including other Americans and locals. When Eugene Allerton (Drew Starkey) comes to town, Lee becomes infatuated with the younger man, eventually pursuing him to create a connection with someone in a town he feels so alone in.
Guadagnino creates such a rich atmosphere with stunning cinematography by Saombhu Mukdeeprom and a captivating color palette that subtly creeps into frames to activate emotional responses in the audience. The film transports its viewers into the world both Lee and Eugene experience through deep visuals and beautiful establishing shots that place us into the world. The production design by Stefano Baisi accentuates these choices as it creates the world masterfully with a feel to match Mexico City and the 1950s in a way that feels unreal and dreamy. The environment is almost reminiscent of Poor Things from time to time. Lighting is a true star in Queer as each scene is accented by the ambiance that continues to make the audience feel placed right into the scene while supporting the cinematography every step of the way.
Daniel Craig provides a masterful performance that balances the love, desire, anxiety, and discomfort that Lee feels throughout his journey in building a relationship with Eugene. We see his frustration but fail to understand what Eugene is thinking and feeling. Guadagnino does a terrific job at keeping Eugene’s feelings ambivalent in order to put the audience fully into Lee’s shoes and understand what he is thinking. As the film continues, Craig supports the turn this film takes in the latter half by giving his all to the performance. He embraces the uncertainty and bizarreness by matching its energy.
The music is another lovely touch that adds to the hypnotizing effects of the film. Trent Reznor and Atticus Ross return to collaborate with Guadagnino for a second time with a much more mellow score than their previous work. They contribute a dreamy effect to the soundscape, making it feel as though one may be putting you into a trance, which is supported by the Lynchian visuals demonstrated on the screen. Additionally, Robin Urdang, the music supervisor, creates a soundtrack that adds to the grainy feel of the film and accentuates the feelings of Lee whether it be isolation, difference, or longing.
The body is explored thoroughly in the film as ideas of bodies intertwining, disembodiment, and the interior versus exterior of the body are considered through the relationship and desire between Eugene and Lee. There is a feeling of spirituality and otherworldliness that takes over as bodies are challenged and explored. This is where things become a little muddled and unclear and may ultimately be what loses most people, but Queer manages to deliver a stunning story of desire with hypnotizing factors and a melancholic ending.
Queer follows William Lee (Daniel Craig), an American ex-pat living in Mexico City amongst a variety of companies including other Americans and locals. When Eugene Allerton (Drew Starkey) comes to town, Lee becomes infatuated with the younger man, eventually pursuing him to create a connection with someone in a town he feels so alone in.
Guadagnino creates such a rich atmosphere with stunning cinematography by Saombhu Mukdeeprom and a captivating color palette that subtly creeps into frames to activate emotional responses in the audience. The film transports its viewers into the world both Lee and Eugene experience through deep visuals and beautiful establishing shots that place us into the world. The production design by Stefano Baisi accentuates these choices as it creates the world masterfully with a feel to match Mexico City and the 1950s in a way that feels unreal and dreamy. The environment is almost reminiscent of Poor Things from time to time. Lighting is a true star in Queer as each scene is accented by the ambiance that continues to make the audience feel placed right into the scene while supporting the cinematography every step of the way.
Daniel Craig provides a masterful performance that balances the love, desire, anxiety, and discomfort that Lee feels throughout his journey in building a relationship with Eugene. We see his frustration but fail to understand what Eugene is thinking and feeling. Guadagnino does a terrific job at keeping Eugene’s feelings ambivalent in order to put the audience fully into Lee’s shoes and understand what he is thinking. As the film continues, Craig supports the turn this film takes in the latter half by giving his all to the performance. He embraces the uncertainty and bizarreness by matching its energy.
The music is another lovely touch that adds to the hypnotizing effects of the film. Trent Reznor and Atticus Ross return to collaborate with Guadagnino for a second time with a much more mellow score than their previous work. They contribute a dreamy effect to the soundscape, making it feel as though one may be putting you into a trance, which is supported by the Lynchian visuals demonstrated on the screen. Additionally, Robin Urdang, the music supervisor, creates a soundtrack that adds to the grainy feel of the film and accentuates the feelings of Lee whether it be isolation, difference, or longing.
The body is explored thoroughly in the film as ideas of bodies intertwining, disembodiment, and the interior versus exterior of the body are considered through the relationship and desire between Eugene and Lee. There is a feeling of spirituality and otherworldliness that takes over as bodies are challenged and explored. This is where things become a little muddled and unclear and may ultimately be what loses most people, but Queer manages to deliver a stunning story of desire with hypnotizing factors and a melancholic ending.
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