In the wake of her father’s suicide and dumping by her boyfriend, Catherine (Elizabeth Moss of “Mad Men”) goes to a lake house with her friend Virginia (Katherine Waterson) for a week of solace and recovery. And, well, that’s pretty much it. The peculiar thing about “Queen of Earth” is that not a lot happens: The two do a lot of sitting and lying around. Catherine paints Virginia’s portrait; they go walking in the woods. They argue; they connect. A meddling, patronizing neighbor, Rich (Patrick Fugit), hangs around.
At the same time, there’s a feeling of dread and uneasiness the viewer can’t shake. This is mostly due to Keegan DeWitt’s haunting instrumental score, which is soothing yet eerie, peaceful yet distressing — flaring up at particular moments like a horror movie soundtrack.
In addition, cinematographer Sean Price Williams primarily uses lengthy shots and slow pans and zoom-ins, giving the film a heightened, almost slow-motion, dreamy reality. Just about everything that happens in “Queen of Earth” is mundane and ordinary, but the tone is creepy and chaotic.
Through the creepy score, dreamy cinematography and elegant direction, Perry brings the deeply internalized feelings of panic, anxiety, alienation, sadness and concern associated with Catherine’s breakdown to the surface with unnerving, disturbing energy. In this regard, “Queen of Earth” is a horror movie, but it’s not about ghosts, murders or even trippy visions. It’s a horror movie about depression.
What is supposed to be a week of relaxation turns into one of discomfort and tension. Catherine gets progressively worse as the days count down. The serenity and seclusion of the lake house, while initially welcoming, becomes suffocating. Perry crafts one uncomfortable, nail-biting scene after another. Catherine’s demeanor becomes more hostile and anxious; she hardly sleeps, has mood swings and complains about her face aching, even though nothing physical is wrong with her. The movie is reminiscent of Roman Polanski’s claustrophobic paranoid thriller “Repulsion” (another movie in which a woman suffers from psychosis), sans the nightmarish hallucinations.
We also see the gradual decay of her friendship with Virginia. At first, the two share a few warm and intimate moments; there’s a great scene where they open up to each other about past romantic relationships that gives us a great sense of their closeness and trust. However, due to Catherine’s increasing hostility, it gets to a point where they act like strangers, saying few words and awkwardly avoiding each other.
It also helps that Perry found two incredibly talented, rising actresses. Moss is phenomenal, playing Catherine with a perfect blend of sympathy and menace and not going overboard with the craziness. Perhaps, best of all, Moss doesn’t paint Catherine entirely as a victim. In flashbacks to the previous year’s trip to the lake house, she’s depicted as selfish and inconsiderate, the result of living a privileged, comfortable life and depending on others (her father and boyfriends) to take care of her. Overall, Catherine is a tragic, flawed, multifaceted heroine.
Waterson gives a wonderfully restrained, nuanced performance as someone witnessing her best friend’s horrifying descent into madness. Virginia has an obligation to stay strong and supportive (especially considering she went through her own bout of depression), but as Catherine’s condition worsens, it becomes difficult for Virginia to conceal own her growing frustration and sadness.
On the whole, “Queen of Earth” is a beautiful, remarkable film, showing just how terrifying depression can be for both the person who is depressed and the friends/family members affected by it secondhand.