By John Corrado

The 2024 Toronto International Film Festival runs from September 5th to 15th, more information on tickets and showtimes can be found right here.

Luca Guadagnino’s Queer finds the filmmaker interpreting the work of author William S. Burroughs. The film is adapted from the novel of the same name by Burroughs, which follows its protagonist Lee (played here by Daniel Craig) roaming about Mexico after the end of the Second World War, picking up guys at different gay bars.

Guadagnino uses this somewhat aimless structure to offer a fascinating, moving statement on queer identity, one that becomes an artistic drug trip in its third act. Craig’s Lee is struggling with addiction, drowning his sorrows in alcohol and heroin. His reprieve comes from the young men he picks up. Lee is enamoured with one in particular; Eugene Allerton (Drew Starkey), a young man from Oklahoma who starts frequenting the same bars.

Lee becomes obsessed with him, beginning with desperately trying to figure out if the young Eugene is also queer. In the first act, Guadagnino compellingly captures Lee’s quest to figure out if the objection of his affection might be of the same persuasion, not wanting to face the awkwardness or possible rejection of outright asking. There is a sensual tension to Guadagnino’s film, that is both implicit and at times (very) explicit.

The screenplay is adapted by Justin Kuritzkes, who also wrote the script for Guadagnino’s ménage à trois tennis drama Challengers, which became a sleeper hit earlier this year. This is a very different collaboration from them; Queer is more insular and arthouse, and far less accessible than Challengers (or Guadagnino’s Call Me By Your Name). But it’s a cinematic work that rewards patience and is just as rich in its own right.

The scenes of Lee wandering the streets of Mexico are set to the hypnotic music of Trent Reznor and Atticus Ross, with songs by bands like Nirvana (an anachronism that works beautifully in context). The style is intoxicating, with cinematographer Sayombhu Mukdeeprom capturing it in long takes and wide shots that highlight the production design recreating post-war Mexico. The last act is when Guadagnino goes most impressionistic and experimental, as Lee seeks out ayahuasca to complete his (and the film’s) inward journey.

Craig is compelling as the twink-obsessed addict Lee, who has a flair for storytelling and intellectual discussion with anyone who will listen, but is also befallen by great loneliness and drug addiction. As charismatic as he can be, there is a heartbreaking subtext to his performance. Starkey captivates as his muse, adding intriguing layers to his portrayal of a young man open to exploring. Meanwhile, Jason Schwartzman steals every moment of screen time as fellow queer Joe, who hangs around the same joints, hopelessly seeking whatever companionship he can get.

Film Rating: ★★★½ (out of 4)

Public Screenings: Monday, September 9th, 9:45 PM at Princess of Wales; Tuesday, September 10th, 3:00 PM at TIFF Lightbox; Friday, September 13th, 9:15 AM at Scotiabank Theatre; Saturday, September 14th, 4:00 PM at Scotiabank Theatre; Sunday, September 15th, 5:45 PM at Scotiabank Theatre