‘Queen at Sea’ explores the tricky moment when consent is fogged by dementia

Early in “Queen at Sea,” there’s a sex scene. It’s brief and shows little, but the fleeting moment will inform everything that happens in writer-director Lance Hammer’s crushing second feature. This movie about consent and dementia — and ultimately, far much more — hinges on a questionable act that provokes a hasty emotional reaction. In the process, a family tries to come to the aid of its ailing matriarch, presented with only a series of unappealing options, each more unbearable than the next.

Juliette Binoche is beautifully fragile as Amanda, the dutiful daughter of Leslie (Anna Calder-Marshall), who herself has been married to second husband Martin (Tom Courtenay) for 18 years. Amanda and her teenage daughter Sarah (Florence Hunt) visit the older couple’s London home one morning, shocked to open their bedroom door to find Martin on top of Leslie, thrusting away. But embarrassment quickly gives way to anger for Amanda: Leslie has advanced dementia and her doctor has told Martin that he can no longer have sex with Leslie because she doesn’t possess the mental acuteness to give consent. Furious at her stepfather, Amanda phones the police, hoping the authorities can put a scare into him.

But Amanda’s call has unintended consequences. When the police arrive, they arrest Martin, advising Amanda that she take her mother for a “forensic medical examination” — or, as Amanda puts it bluntly, a rape exam — to ensure she has not been injured. Amanda’s rage quickly morphs into panic because she knows how dependent the childlike Leslie is on her husband, who functions as her primary caregiver. She just wanted to teach Martin a lesson, but soon, social services intervene to determine whether the elderly couple has to be separated for Leslie’s safety.

Even before the police becomes involved, Hammer hints at his film’s tense tenor. You can feel it in how he shoots the house’s severely winding stairs — dangerous for Leslie and Martin to navigate — from occasionally vertiginous angles. The camera rarely moves as we spy charged conversations from a distance, sometimes from another room or from a floor above the characters. We’re intruders, stealing glimpses of a private domestic drama not meant for our prying eyes.

Unlike previous terrific pictures about dementia (such as “The Father”), “Queen at Sea” is less about the crippling condition than it is the fulcrum for a troubling exploration of several topics: mortality, love, parenting and the grim futility of everything. Similarly, although Hammer takes seriously the question of consent, he widens his narrative’s lens to provide a thoughtful, complex view of the issue. Martin adores his wife, insisting that their doctor is wrong and that Leslie, in fact, does understand her sexual urges. To back up his argument, he informs Amanda that, frequently, it is her mother who initiates sex. But is that because dementia has robbed Leslie of the ability to modulate her urges? “Queen at Sea” offers no answers, leaving the viewer as uncertain as Amanda, who wants to protect her mother but cannot deny how drawn Leslie is to her kindly husband.

At the film’s heart is a terribly relatable family conflict in which each character assumes that they know best. Binoche plays Amanda with a surfeit of tenderness for her mother, who goes from being lucid to infantile without warning. (Calder-Marshall poignantly channels the silent helplessness that consumes those with dementia, making her an unstable chemical compound always on the verge of explosion.)

Just as fiercely loyal as Amanda, Martin vainly advocates for his beloved, knowing that Amanda has power of attorney and, therefore, the upper hand. Courtenay gives a marvelous performance suffused with simmering rage: To Martin’s way of thinking, it was Amanda’s foolish overreaction to seeing them have sex that led to all these problems. That feeling of betrayal resides on his face for the rest of “Queen at Sea,” even as he and his stepdaughter negotiate a wobbly truce concerning Leslie’s future, which includes an unexpectedly fraught trip to a care home.

Hammer has not made a film since 2008’s “Ballast,” another spare drama about brittle lives. Eighteen years later, his formal command remains formidable. Eventually, Hammer starts cutting away from the central narrative to focus on Sarah as she hangs out with friends and spends time with a cute boy, James (Cody Molko). At first, these carefree interludes seem to be a welcome respite from “Queen at Sea’s” choking anxiety. But as Leslie’s situation grows increasingly complicated, Sarah’s emerging love story proves to be a bittersweet, ironic counterpoint. Maybe Sarah will find love and great sex — like her parents and grandparents before her — but the shadow of despair that has descended on her family will someday come for her. She’s still too young to know how impossible aging can be.

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