Lance Hammer's Queen at Sea, his first feature in 18 years since Ballast, premiered at the Berlin Film Festival. The film stars Juliette Binoche and Tom Courtenay in a story exploring consent and autonomy amid dementia. It presents a nuanced drama of family tensions and caregiving challenges.
Lance Hammer's Queen at Sea marks his return to directing after an 18-year gap since his 2008 debut Ballast. Reviewed in the competition section at the Berlin Film Festival on February 17, 2026, the 121-minute U.K.-U.S. production delves into the complexities of dementia, consent, and family dynamics.
The story centers on middle-aged professor Amanda, played by Juliette Binoche, who moves temporarily to North London with her teenage daughter Sarah (Florence Hunt) to care for her mother Leslie (Anna Calder-Marshall), who has advanced dementia. Amanda discovers her stepfather Martin (Tom Courtenay), Leslie's primary caregiver, in a compromising situation with her mother, leading her to call the police and report a sexual assault due to Leslie's inability to consent, as confirmed by her doctor.
Hammer's screenplay, which he also edited, avoids simple moral judgments. Martin, deeply loving and devoted to Leslie, claims an understanding of her desires rooted in their long history. Amanda grapples with regret over involving authorities, fearing separation of the elderly couple. The narrative shifts to procedural elements, including a rape kit examination that feels dehumanizing given Leslie's limited verbal abilities.
Performances anchor the film's emotional depth. Courtenay portrays Martin's frustration and compassion, blending obstinacy with tenderness. Binoche conveys Amanda's exhausted helplessness. Calder-Marshall's subtle depiction of Leslie captures fleeting humanity amid vacancy, making her central to the thematic mystery.
Subplots involve Sarah's coming-of-age experiences, mirroring generational contrasts in intimacy and care. Cinematographer Adolpho Veloso employs a reduced shutter angle for a jittery effect, evoking dementia's disorientation while maintaining naturalistic 35mm frames. Drawing from research on elder care and assault, the film echoes Ken Loach's social realism, emphasizing enduring love amid loss, distinct from more misery-focused works like Amour or The Father.
Production involves The Bureau and Alluvial Film Company, with producers Tristan Goligher and Hammer. World sales are handled by The Match Factory in Cologne. Dialogue mixes English and French.
