Queen At Sea

With its unflinching portrayal of ageing, intimacy, dementia and end of life preoccupations, Lance Hammer’s drama confronts its subject unsentimentally head on with no holds barred.

The script has been finely calibrated and captures the attention in ways that are not obvious - it creeps up on you and takes over by the power of the narrative and, of course, the performances.

Juliette Binoche has rarely been better as the stepdaughter at odds with her stepfather (Tom Courtenay, quietly effective) who cannot agree about the care of her mother (Anna Calder-Marshall, both understated and deeply touching).

Hammer directs with a deft hand, exploring the themes and challenges of caring for a love one with a debilitating condition and how different perspectives can lead to conflict.

Where the film scores in dealing with such sensitive topics is the way Hammer also presents the possibilities of understanding and resolution in a way that is non-judgmental.

Binoche gets into her stride as the academic Amanda who moves from Newcastle to North London to be near her mother Leslie. She finds her in bed with her second husband Martin (Courtenay) who has been told to avoid a physical relationship on the basis that Leslie cannot give her consent. The police are called, an investigation instigated and Martin is arrested with all the upset that such a separation could unleash on a hitherto devoted couple.

A side narrative which is less successful involves Amanda’s teenage daughter Sara (Florence Hunt) who is involved with a boy from her school (Cody Molko) which also brings in issues of consent.

Although Binoche provides a stellar focus for the film it is the work of Calder-Marshall and Courtenay (stage acting stalwarts from way back) who mesmerise in revealing their emotional connections that age and illness cannot disguise. Their playing deservedly won them shared supporting acting awards at the Berlin Film Festival earlier in the year where the film attracted the jury prize.

Queen At Sea is an emotional roller-coaster that demands much of its audience and presents no easy answers to the conundrums presented. Hammer who also edits, ensures that, despite the deep traumas on view, it ends on a note of hope. It is beautifully shot by Adolpho Veloso with a variety of suburban vistas, all set to a classical score from among others Brahms and Schubert.

Reviewed on: 26 Sep 2026