In an extremely short turn around from the critically acclaimed Challengers, director Luca Guadagnino returns with Queer, based on the autobiography of William S. Burroughs. Slightly lacking in focus especially as it hits the heights of the final act, Queer is still a striking and beautifully crafted exploration of desire and aching sadness. 

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In 1950s Mexico City, William Lee, an American ex-pat in his late forties, leads a solitary life amidst a small American community. However, the arrival in town of Eugene Allerton, a young student, stirs William into finally establishing a meaningful connection with someone.

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There is something incredibly wistful about Queer. From the way that the narrative intentionally meanders through the first couple of acts guided by some of the best cinematography and production design you’ll see on screen all year, it feels like you are caught in the suffocating heart of Mexico City and the search for love and companionship. 

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Queer is at its most compelling when it’s in the depths of exploration of Craig’s character as he wrestles with naked desire coupled with a painstaking sadness and loneliness in it all. Craig has well and truly shaken free of the box that his 007 role shoved him into and gives one of his most transcendent performances here.

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The final act will leave some completely bowled over while others, like myself, feeling as though the film loses a bit of its focus, delving deep into the psychedelic elements of the story to a point where we almost lose the central characters in the midst of it. Thankfully Guadagnino manages to right the ship at the very end but not without slightly distracting the films focus. 

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Slightly lacking in focus, especially as it hits the heights of the final act, Queer is still a striking and beautifully crafted exploration of desire and aching sadness.