Mark Kinsella’s review published on Letterboxd:
I've a feeling this film will go misunderstood by many.
And by those, I mean the ones who go in expecting this to be another Call Me By Your Name because this couldn't be further from Guadagnino's 2017 coming-of-age romance masterpiece.
Queer is a singular vision, and whilst its themes may feel typical of gay cinema, they've never been explored or dissected as they are here. It's a tale, or semi-autobiographical in the words of William S. Burroughs, of self-loathing, loneliness and longing, and what we deny ourselves to fit social norms. Unable to express his true self or feelings, we see desire and the longing for connection with another human through Lee's eyes, often psychedelic or out of pure desperation, it's journey from the vibrancy of Mexico City to the ultimate trip deep in the Ecuadorian jungle, as he seeks to unlock true intimacy with a beautiful young man, in the gorgeous shape of a former American GI, Eugene Allerton.
It's a complicated story to crack, and honestly, Guadagnino and screen writer, Justin Kuritzkes, fumbles in its first 30 minutes. It takes its time to find its narrative rhythm and often teetering on the edge of boredom, but once we get an understanding of who Lee is and Guadagnino's ambitious are, the film opens up beautifully. Erotic, dreamlike, and enigmatic: Queer demands your patience and if you stick with it, it's a truly rewarding, albeit strange and sad, experience.
Its true transportive power though, comes in the shape of Daniel Craig. A career-defining performance: his Lee is all quiet rage and spoken melancholy, pained yet charismatic, awkward but gutsy. It's a revelation and lacking in vanity, and too rare of a thing these days. He solidifies himself, as still as one the most underestimated actors today. There's also some beautiful and mad supporting performances too from Jason Schwartzman and a bonkers Lesley Manville. Though; suitably icy whilst overwhelming handsome, Drew Starkey makes a significant mark on the screen and his on-screen charisma with Craig is both hot and complex.
With Guadagnino's printers eye, the world Queer inhabits looks extraordinary. From the nuanced production design, Sayombhu Mukdeeprom's eye-watering cinematography, and Guadagnino's wonderfully fluid camera work and use of minature sets make it all look beautiful up on the big screen, while remaining intimate, suitably grimy and otherworldly - almost a canvas of Lee's mental state. It's also aided by an extraordinary score by Trent Reznor and Atticus Ross - another piece of music that remains them as the most incredible film composers of our time.
The answers don't come easy and sometimes not at all, but Queer works best when it refuses to play to expectations. It's frustrating yet exhilarating, though tragic and offering little hope but it is a smart and individual cinematic work exploring the fears and hopes of a gay man in a woemrld that's leaving him behind. A film not for all and it will be discussed for years, but it's one hell of a trip if you're willing to give yourself over to it.
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