Rainha do Mundo

I loved "Listen Up Philip" and found "The Color Wheel" very interesting (if also annoying), so I was very psyched for this latest by ARP. I'm not sure what it ultimately adds up to, script-wise, or how much weight it would have at all if not for the lead performance. But what a performance. Moss is remarkable. It's one of those descent-into-madness performances that's so riveting it almost doesn't matter that the narrative and explicating psychology are sketchy at best. I suppose that's partly the point--that our understanding of what is happening to the character is as fragmentary as her own understanding of it--but nonetheless it's a little frustrating. That doesn't matter all that much, though, because Moss is so fascinating to watch. Eventually I'll see the movie again, not only to experience that performance a second time, but also to see if the film has more substance to it (independent on that star turn) than it appeared at first glance.

I went into Queen of the Earth with so much good will. The premise sounds like it has a great deal of potential - a woman's (Elizabeth Moss) father dies and she goes to try and get away from everything in the wake of this and breaking up with her boyfriend to a cabin by a lake that her best friend (Katharine Waterston) has, and from there she starts to lose her mind. I hadn't seen The Color Wheel or Listen up Phillip, the previous Alex Ross Perry films, but I am an admirer of Elizabeth Moss (just last year she was in a little seen but awesome indie movie, The One I Love), and I thought she could pull off a deep and interesting character. The trouble is, the resulting film Queen of the Earth isn't deep or interesting, though it would very much like to be and pretends to be.

It paigns me to rag on a film that is trying to be ambitious in the psychological/interior sense. It's not that the world lacks independent film dramas dealing with loss and mental instability, but it's always good to have well made ones that let the audience in to the character's pain and, perhaps, see that person grow. But the core problem with the movie is that it doesn't give enough context for the main character's misery. In a sense the format reminded me of Lars von Trier's Antichrist, only without the hilarious fox or over-the-top antics involving castration: someone loses a loved one, they go off to the middle of the woods with a close friend, and then the bile spews out. And Queen of the Earth is nothing but an experience where characters are loaded with bile to one another scene after scene.

Of course a story dealing with grief and loss and mental fractions should be taking itself seriously, of course... but maybe it should also allow a tone that doesn't hit the same ugly sensations. Even in the flashbacks Moss and Waterston's characters are sniping at one another in passive-aggressive or just aggressive ways, and even the (very) few semi-happy moments are tinged with the flavor of dread. After an opening shot where we see Moss crying and in hysterics - and to be fair, it's an amazingly acted and shot scene - it never really loses that tone, and yet we also never get a sense of WHERE and WHO this character was at before all of this; it's all told to us (that she had a father who was reviled, that she is reviled as a "spoiled brat", that she should get over herself, her art, etc).

Part of the approach may be due to the low-budget - Perry didn't quite get started with the 'mumblecore' filmmakers, but he's in the same ballpark - and yet there's little actual creativity, or any sense of empathy that the audience can have in the writing, at least from my perspective. Part of the problem too is due to the style, where Perry gets composer Keegan DeWitt to hit the same ominous, horror-movie notes, and it's draining. In scene after scene it's as though we are locked in with one woman, Catherine, who is a head-case and is becoming undone further and further along (the same tone is basically, 'why can't they leave me alone') and she is not that interesting as a miserable character, and Virginia is even worse. There's no arc with either of these people, no sense of growth whether it's up or down (well, I guess Catherine DOES get worse, but you know what I mean, the trajectory is muddled and shallow); that may be part of the point, but it doesn't work in this case.

I can see why the film was made, to bring a full atmospheric experience through eerie-grainy 16mm cinematography, and to highlight how, well I guess, society people are people too. But aside from Moss's performance, as she really is trying and going for this full- throttle (she produced too), Queen of the Earth comes off as a miserable, empty time.

Queen of Earth is a character study of a depressed woman who unravels following death, scandal, and a break-up. She spends a week at a high end lake side house belonging to a friend.

The visit, which should have been a calm, nurturing respite from her personal tragedies turns into a gut wrenching week. Her friend lacks the patience and empathy to help her heal. Instead she pushes her further into depression and decompensation.

Elizabeth Moss is brilliant with this long, slow disintegration. I could compare her performance to Elizabeth Taylor in 'Who's Afraid of Virginia Woolf' or Nicole Kidman as Virginia Woolf.

Katherine Waterston, daughter of the beloved Law and Order actor San Waterston, plays a hard edged, unkind, and self centered rich girl. She is unable to help her friend with debilitating depression. In fact she worsens the situation with her criticism, and harsh comments. She is a slender brunette with Ali McGraw looks. Look for more good work from this actress.

The movie moves slow as a glacier. The visual elements are very simple. The lovely house, the lake, and the faces of the two actresses are the main elements. Extremely important is the music.

The musical score establishes the mood, the dread, the tension, the intense unease which characterizes this film. A woman walking down a flight of steps turns into a tense and anxious scene because of the musical score. Another writer/director would have used a voice over to communicate with the audience. Director Alex Ross Perry uses music.

I believe this is only the 4th film by Alex Perry. I think it is a very ambitious undertaking. It is similar in pace and mood to the Lars von Trier film Melancholia. I look forward to more films from Alex Ross Perry.

This is not for every one. It is a very slow and unhappy movie. The characters are not likable. The men are horrid. It is a study of two women and a friendship which is no longer viable. It is a study of a woman who loses her grip on reality and has no one to help her. It is an excellent film with a brilliant performance worthy of an Oscar by Elizabeth Moss.

So, I really wasn't a fan of Alex Ross Perry's last film Listen Up Philip. That's all I have to base him on. I felt there were a few redeeming aspects going for it, but generally it was an unpleasant experience. It's biggest redeeming aspect? Easily Elisabeth Moss. She played Philip's recovering ex-girlfriend with such tender vulnerability that Perry's ineptitude as a writer and director couldn't get in her way. She makes the film worthwhile when the film could have easily chopped off her subplot and remained the same. Though to clarify, her performance is good, her story is a drag. In theory, Queen of Earth was the perfect next move. A focused movie letting Moss let loose with the unhinged side of her character from Listen Up. And yet, it went so wrong. Someone must have hurt Alex Ross Perry bad. The only thing he has to thoughtlessly spray about people are mean-spirited bites with absolutely no finesse. I don't mind cynical films or characters, but not when they bring absolutely nothing insightful to the table. It's an ugly spite that dives into the unpleasant side of unpleasant people without essential epiphanies.

Instead, Perry has his 'queen of earth' blame everyone else for her problem sans any hint of irony. It's far too self-serious and unsatisfying. It's lazy writing when the backstory is much more interesting than what they're showing on screen, especially when its many flashbacks refuse to divulge into it. It's not necessarily a clumsy film, but it's a very pretentious in its composition and rhythm as if it's the next Persona or 3 Women. How many minuscule scenes do we need of the two leading women walking by each other tensely in a room? I'd like to say Katherine Waterston saves it in a co-leading opportunity, but in Perry's hands she's worse than Moss. I forgive both actresses and Patrick Fugit, but the material they had to work with is so petty and flat, never probing into deeper human needs, only superficial selfish desires that have no third dimension. I could kind of get into it at first, the opening prologue shot for example is very compelling, but it just never finds its way from there. At least its photography isn't quite as incompetent, though Perry is trapping me in his closeups again. It makes Listen Up Philip look well developed in comparison.

5/10

A fascinating film, perhaps, for the uber elite who live in the rarefied world of privileged exceptionalism, where the life of the common person is a vague, if non-existent reality, and are instead obsessively immersed in a self absorbed universe of which they are perpetually at the center of.

As for the portrayal of such, Elisabeth Moss does convincingly deliver her character with a unique sense of familiarity.

The problem I had with this film is not the story itself, which probes into the frailties of the human condition within this rarefied social ecology, but rather with the pathetic nature of all of these nauseatingly self absorbed characters, none of whom I would ever have anything in common with, even under the most demanding of required social circumstances.

Call me a "salt of the earth" servile dolt if so inclined, if such makes you feel more self important, but what this film did do is remind me why I have specifically avoided spending any amount of time or effort becoming enmeshed in the dramatic pathologies of the supposedly social elite, which this film does deliver a compelling depiction of.

This general environment I'm quite familiar with, having had my more than my share of exposure into this sort of universe . . . and opting out of it completely.

As for the film itself as an art piece, it is an interesting voyage into the disintegrating psyche of fragile, needy people.

Deciphering exactly where the boundaries were between the actual realities of the moment, and the collage of flashbacks and self induced fantasies which would jaggedly pop in and out of the story thread was a bit exhausting at times, but overall this was a brave attempt to deliver a multi-threaded tapestry of intersecting plots which clearly would have been easily rendered in written form, but compressing such into a film would be much more demanding.