Tom Courtenay made a notable return to the Berlinale film festival with Lance Hammer’s Queen at Sea, presenting a drama centered on an intense moral dilemma. This follow-up to Andrew Haigh’s 2015 film 45 Years offers a similarly weighty role for Courtenay, now confronting challenges that test the boundaries of consent and familial loyalty.
Lance Hammer’s Return to Filmmaking with a Difficult Story
Queen at Sea marks Hammer’s first film since his acclaimed 2008 Sundance hit Ballast, a story about suicide in the Mississippi Delta. After stepping away from filmmaking for years, Hammer has chosen a complex and thorny subject for his comeback. The film starts with a woman finding her elderly mother and stepfather in an intimate moment, leading her to panic and call the police. This initiates a harrowing investigation into whether the mother, who suffers from advanced dementia, was able to give consent, putting her relationship with her stepfather under intense scrutiny.
Contrasting Performances Shape the Central Conflict
Courtenay’s character in Queen at Sea, Martin, faces off against Juliette Binoche’s Amanda, whose portrayal and Hammer’s direction combine to present a character seen by many as cold and sometimes irrational. This imbalance creates tension in the film, making the moral question feel somewhat one-sided rather than a nuanced debate. Still, the film remains captivating largely due to the strong performance of Courtenay, whose voice now carries a distinctive aged quality reminiscent of Peter O’Toole’s late career.
Authentic Setting and Cinematography Enhance the Story
Shot primarily on location and captured on 35mm film by cinematographer Adolpho Veloso, Queen at Sea boasts a striking visual style. Many scenes unfold around Balfron Tower, a Brutalist landmark in East London recognizable to international audiences from films like 28 Days Later. Martin’s home, a lived-in, creaky space, serves as a key backdrop where the film explores the clash between Amanda’s intentions to move her mother to a nursing home and Martin’s connection to his family environment. Veteran actress Anna Calder-Marshall delivers a subtle yet powerful performance as the elderly mother, adding emotional depth to the narrative.
Balancing Darkness with a Subplot of Youthful Romance
To alleviate some of the film’s tension, Hammer introduces a romantic subplot involving Amanda’s daughter Sara, played by Bridgerton star Florence Hunt, and a local boy. This storyline provides a brief moment of freshness and contrast amidst the film’s heavy themes of dementia and familial conflict. While the juxtaposition of budding young love against the decline of mental faculties is somewhat overt, it offers a necessary breath of relief for viewers navigating the film’s unsettling atmosphere.
Premiere and Reception at the Berlinale
Queen at Sea premiered at the 2026 Berlinale, presenting audiences with a challenging exploration of morality, consent, and family ties. The film’s tense mood and uneasy questions are underscored by fine performances and compelling visuals. For those intrigued by stories that confront difficult ethical issues through personal drama, this film stands out, despite moments where character dynamics feel uneven.
Implications and Anticipated Impact of the Film
As an anxious and restless drama, Queen at Sea invites reflection on the fragility of consent and the complexities within family relationships affected by dementia. Juliette Binoche’s participation brings significant attention, spotlighting the film in festival discussions and among audiences keen on intense psychological stories. The movie is likely to spark conversations about care for vulnerable adults and the emotional turmoil involved in making morally fraught decisions, positioning it as a thought-provoking work in the current film landscape.
