Daniel Craig’s Bold Transformation in ‘Queer’ at Venice Film Festival

Daniel Craig’s Bold Transformation in “Queer”

If you’ve primarily known Daniel Craig as the suave, enigmatic James Bond, brace yourself for a shock with his latest film, “Queer.” Directed by the acclaimed Luca Guadagnino, this gripping narrative premiered at the Venice Film Festival on Tuesday, showcasing a side of Craig that is raw and unfiltered. In this film, the 56-year-old actor embodies a drug addict whose tumultuous journey through addiction and sexual encounters is depicted with stark authenticity.

However, for those familiar with Craig’s earlier work—before he donned the tuxedo of Her Majesty’s Secret Service—this new role may resonate more deeply. Craig’s filmography includes daring, sexually charged projects such as “Love Is the Devil” and “The Mother,” which laid the groundwork for his artistic persona. At the film’s Venice press conference, he hinted at the significance of “Queer” in his career, stating, “If I wasn’t in the movie and saw this movie, I’d want to be in it. It’s the kind of film I want to see, I want to make, I want to be out there. They’re challenging but hopefully incredibly accessible.”

“Queer,” adapted from William S. Burroughs’ novel of the same name, tells the story of Lee (portrayed by Craig), an American expatriate who finds himself languishing in the vibrant yet oppressive atmosphere of Mexico City. Lee’s existence is a relentless pursuit of highs, whether he’s indulging in excessive drinking at dive bars, cruising the streets for handsome strangers, or isolating himself with heroin in the confines of his apartment.

Dressed in elegant linen suits, Lee ambles through life like a well-dressed specter, until he crosses paths with Allerton (Drew Starkey), a captivating drifter whose own sexuality seems fluid and undefined. The ambiguity of Allerton’s feelings—does he genuinely like Lee, or is he simply drawn to the attention?—adds an intriguing layer to the narrative. Allerton speaks very little, further deepening Lee’s fascination.

As Lee’s obsession intensifies, he tempts Allerton into a quest for a mythical drug purported to induce telepathy; perhaps, through this substance, he might finally uncover what the object of his desire truly thinks and feels.

While Burroughs’ original novel, written in the early 1950s but published posthumously in 1985, is a brief and gritty exploration of its themes, Guadagnino takes a more expansive approach. The director constructs lavish sets that breathe life into the story, with a recreation of Mexico City built at Rome’s Cinecittà Studios, infusing the film with a sweeping romanticism that contrasts sharply with the darker undertones of the narrative.