not sure how i feel about this. elizabeth moss was great as always, the cinematography left me suspended in air... but something about the way madness was portrayed made me feel like they were making a spectacle of it. maybe it was too exaggerated to be believable? I don't know. It just felt wrong somehow.
Way more than a curiosity. Ross Perry has pulled back the scale (in a way that plays w/ indie convention) and created something pretty delectable. The stuff about communication is gold. The old adage that hurt people hurt people has never been better exemplified. As for the depiction of mental illness: it is so baroque and abstracted that we are basically dealing w/ mental illness as a metaphor for mental illness.
emotions are labyrinthine - just when you think you've discovered the crux of your issue, you reach out to grasp it and touch a wall instead. sometimes we laugh about them, sometimes we lash out about them, but finding ourselves and understanding our guilt or depression or joy isn't always linear. we, as human beings, are our own worst enemies. the human condition is too much to bear.
A captivating portrait of a tainted friendship, "Queen of Earth" owes a lot to the dynamic between Elisabeth Moss and Katherine Waterston and a cool, tense script that dissects the ambivalence of having someone you can call your "best friend". Just how oppressing and downright maddening can that relationship become with all its expectations and obligations? Extra points for the nice poster and beautiful typeface.
Hailed by some, worryingly, as an heir to Baumbach and Anderson, Perry continues to get by on slender promise, relentless obnoxiousness, and a gift for pastiching his betters unto cliche. Here he channels Bergman and von Trier through a banalizing flume of petty resentments and ready-made despair. As eerie, anxious, and uncanny as its film wishes it were, Keegan DeWitt's soundtrack deserves a better video.
There is little doubt that Alex Ross Perry is the most talented American director of the this decade. This astute remix of Persona, Sisters, Interiors, and Repulsion is another proof. Kudos to Keegan DeWitt for his astounding minimalist score and Teddy Blanks's calligraphic typeface.
Perry’s direction is practical without being obtuse, finding consistency in a script that digs deep into the characters’ soul, and managing to turn the cutting, claustrophobically tense “Queen of Earth” into a modern version of “A Woman Under the Influence” with traces of Bergman.
A genuinely fresh and bracing film, Queen of Earth further heralds the arrival of an important voice in American cinema. It's ostensibly about depression, or perhaps a destructive friendship, but it's much more potent as a barbed psychological examination of how people struggle to define themselves vis-a-vis each other.