Well, That Was Upsetting

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Lance Hammer made a striking debut in 2008 with his film Ballast, a serious drama filmed over several years in the Mississippi Delta using a cast of non-actors. He chose to release it himself, bypassing traditional distribution methods, hoping to reach a wider audience. The film earned numerous award nominations, including six Independent Spirit Awards and four Gotham Awards, but Hammer then unexpectedly stopped making films for 18 years. Now, he’s back with Queen at Sea, which premiered at the Berlin Film Festival. Though filmed in a new style and starring established actors, the film still carries his signature quiet, observant approach – something a simple plot summary wouldn’t reveal.

“Queen at Sea” is part of a growing trend of films dealing with dementia, and it’s difficult to describe without sounding similar to other films like “Amour” and “Vortex.” The story begins with Amanda (Juliette Binoche) and her daughter Sara (Florence Hunt) visiting Amanda’s mother, Leslie (Anna Calder-Marshall), and her stepfather, Martin (Tom Courtenay), only to find them in a compromising situation. Because Leslie has Alzheimer’s and can’t consent, Martin has already received a warning about their intimacy. Upset and acting quickly, Amanda calls the police, triggering a complex investigation. Inspectors and social workers arrive to investigate what happened, treating the bedroom as a crime scene. Martin is arrested and separated from Leslie, forcing Amanda and Sara to move in and provide care. While Sara navigates her own teenage life and relationships, Amanda finds herself caught between caring for a declining parent and witnessing her daughter’s blossoming independence.

This isn’t the first film to tackle the difficult subject of aging and dementia, and it certainly won’t be the last. But like the most impactful films on this topic, it makes us confront uncomfortable truths. Queen at Sea is a raw and disturbing movie, and its brilliance lies in how disorienting it is. Director Hammer intentionally limits what we see, using static cameras and unbalanced framing. A hallway might fill the screen, while characters speak from a distance, or close-ups are so tight we barely see their faces. However, everything feels precise and deliberate, mirroring the feeling of losing control as reality fades. The procedures and choices Amanda makes are an attempt to understand something that’s essentially impossible to define or explain.

Unlike directors Michael Haneke and Gaspar Noe, who are both talented, Hammer focuses more on the human side of his characters, even amidst difficult circumstances. Queen at Sea is notable for its unwavering attention to these people, not to shock the audience, but to understand them. It would pair well with Sarah Polley’s Away from Her for a powerfully moving, though harsh, double feature. While Ballast relied on unknown actors, this film benefits from experienced stage performers like Calder-Marshall and Courtenay, who expertly use physical expression. Leslie conveys much without saying a word, and Martin displays an almost unbelievable calm. His refusal to leave her – is it an act of rebellion, pride, or a commitment to a promise made to his sick wife?

The film deliberately avoids easy answers, and that’s one of its strengths. We’re constantly re-evaluating the characters, who feel incredibly authentic and well-developed, even though they reveal very little through dialogue. Juliette Binoche, known for portraying intelligent characters, plays someone with a determined spirit who unintentionally finds herself in difficult circumstances. Her character craves understanding and closure, but faces a situation that’s inherently unsolvable. Like many of us, she gradually realizes that true control is impossible. Despite focusing on a specific story, Queen at Sea ultimately explores the unpredictable nature of life itself.

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2026-02-18 04:54