Queer is the latest film from Luca Guadagnino based on the novel of the same name by William S. Burroughs. The film had its premiere at Venice Film Festival a couple of weeks ago, and I was lucky to attend the North American premiere of Queer at the Toronto International Film Festival this week. The crowd was buzzing as the lights dimmed and Guadagnino came out to introduce the film. There was nothing that could have prepared me for the film to start off with Sinéad O’Connor’s cover of “All Apologies”. The needle drop sets the tone for the rest of the film that’s packed with more needle drops and a haunting score. Trent Reznor and Atticus Ross both give us a 180 OST from this year’s Challengers. Daniel Craig stars as William Lee opposite Drew Starkey who played the character of Eugene Allerton.

I found myself locked into the film the moment that Sinéad O’Connor’s
rendition of “All Apologies” filled the theater. Guadagnino, like the book, sets the story in Mexico with warm colors and subtle sounds of busy streets. Daniel Craig comes on screen as William Lee with a commanding force but a vulnerability to his character that peeks every so often. A complicated role that demands Craig to be in control but deep down you see he is breaking. The character of Lee seems to have it all figured out, but we quickly realize that Lee still has a long way to go with loving himself. Daniel Craig is truly playing his most realized role to date in Queer. Starkey as well is not to be set aside with the incredible chemistry him and Craig have together. When Drew Starkey comes on screen, he immediately grasps your attention with his subtleness. The arc both characters go through by the end of the film as well left me speechless. Truly a role of a lifetime each of them play with one another.

Guadagnino is no stranger to directing intimate and sensual scenes but with Queer it’s taken to another level. Luca films some of these scenes in an almost voyeuristic manner which just heightens the feelings. There’s a ton of experimentation from the director as well and can be compared to his 2018 masterpiece Suspiria. A lot of what sets Queer apart as well is the use of warmth that can be likened to Call Me By Your Name. It’s not a coincidence, of course, with cinematographer Sayombhu Mukdeeprom collaborating with Guadagnino again. Mukdeeprom is clearly a master when it comes to lighting and there are scenes in Queer that just feel glorious. A lot of what makes Queer is the use of not just its astonishing visuals but the music. It has so much rhythm throughout its runtime compared to his other works. A handful of needle drops that amplify the scenes and a heart aching score from Trent Reznor and Atticus Ross that left me speechless. If you weren’t already listening to Nirvana, Sinéad O’Connor, and New Order you surely will be after Queer. The film is filled with needle drops that just hit so hard with the visuals presented.

I will say this might be Luca’s hardest movie to keep up with, as there are moments that just linger and can feel tedious to get through. It’s definitely one that can test those not looking for all that. Luca also takes it to such a surreal side in the last half hour, which I saw puzzled many people. In my opinion, this is exactly what I want to see Guadagnino doing. Queer is Luca directing a classic with a refreshing and daring take. It’s exactly where I want cinema to push towards from the hyperrealism that has plagued it for far too long. Art is meant to feel exciting and push you and Queer does just that.

We Give Queer a 5 out of 5.