User reviews

Examining the destructive power of forbidden desire and how sexual abuse can masquerade as consensual seduction, Dronningen (Queen of Hearts) is a film wherein our protagonist becomes our antagonist, where our emotional centre shifts multiple times, where our own morality is examined, where our sympathies are used against us. A psychologically fascinating and morally complex film, in the age of MeToo, Dronningen dares to remind us that women can be the perpetrators of abuse just as men can be its victims.

Anne (Trine Dyrholm) and her husband Peter (Magnus Krepper) are an affluent middle-class couple living with their two young daughters on the edge of a forest just outside Copenhagen. She's a partner at a law firm specialising in defending victims of sexual assault and domestic violence, whilst he's a top surgeon. Their life is uneventful but happy. Things change, however, when Gustav (Gustav Lindh), Peter's recalcitrant teenage son from his first marriage, arrives to stay with them, having been expelled from his Swedish school. Although initially, Anne is far from enthused about his sullen presence, over time, he awakens something in her, and she seduces him, with the duo subsequently embarking on a dangerous affair.

Written by May el-Toukhy and Maren Louise Käehne and directed by el-Toukhy, much of Dronningen's strength lies in how the audience is initially encouraged to empathise with Anne before having the rug pulled out from under us and our own morality called into question - how could we ever have identified with this woman? It's easy enough when you consider that she's the emotional centre of the film for the first two acts and she's introduced as brave, driven, and confident, someone who's appalled not only at the abuse her clients have suffered, but so too at a system which could potentially find them to be in the wrong. Once the affair begins, although the audience is shocked at what Anne is doing, el-Toukhy depicts things in such a way that we revel in the sense of erotic freedom, savouring Anne's sexual awakening almost as much as she does herself (the first time we see her smile is during a scene where Gustav coaxes her to join him and her daughters in a lake). It's not until she's faced with the possibility of the affair being revealed that we see who Anne truly is - a heartless and cruel exploiter, incapable of seeing that she is perpetrating a similar kind of abuse as that suffered by her clients.

Another important element is the gender paradigm. As mentioned, we're initially encouraged to empathise with Anne and approve of what she's doing. After all, she's a hardworking, decent woman whose marriage has lost its spark, so who could deny her a little bit of illicit fun? But would we think the same were the genders reversed - how would we react to the story of a fortysomething man seducing a 19-year-old girl? With this in mind, el-Toukhy interrogates our morality, by 'tricking' us into condoning Anne's actions and later asking how we could ever have done so - gender, she suggests, is irrelevant in cases of abuse, and the fact that we give a woman a pass to behave in this manner when we would crucify a man for doing the same thing is part of the film's complex thematic texture.

In terms of acting, this is some of Dyrholm's best work (which is saying a lot considering her extraordinary CV). Initially playing Anne as strong-willed and inherently decent, once Gustav arrives on the scene, Dyrholm loosens up, carrying herself differently, and displaying a different kind of confidence than we've seen thus far - a more personalised confidence, one that has to do with her sense of self rather than her professionalism. Later, when she faces the possibility that Peter could learn of the affair and that her comfortable middle-class life could be jeopardised, she shuts herself down, becoming void of emotion and interiority, as she transitions from protagonist to antagonist. Throughout all this, Dyrholm never lets us forget that Anne is very much a flawed human, but so too does she wholly commit to playing Anne's darker qualities; when the wheel turns, Dyrholm makes sure that we come to despise Anne.

Working opposite such a powerhouse performer can't have been easy for the 25-year-old Lindh, who's only been acting professionally since 2015, but he holds his own admirably. And much as Dyrholm creates a fascinating arc for Anne, so too with Lindh, who plays Gustav with an exceptional visceral quality, his emotions always on the surface. His arc is essentially the inverse of Anne's - whereas she's introduced as the protagonist, someone with whom we're encouraged to identify, yet she later becomes a monster, he's introduced as an unlikable, petulant, and moody brat, yet he evolves to the point where he becomes the emotional fulcrum of the final act. As Peter, Krepper has a lot less to do than his co-stars, but he does it well, never putting a foot wrong. He plays Peter as decent and loving, but not especially warm or attentive. Sex between him and Anne is a rarity, and even when they do have sex, it's vanilla and rote. However, these are his most significant crimes; if Anne and Gustav represent the emotional centre of the film at different points, Peter is the moral centre throughout.

Looking at issues of gender inequality in relation to sexual trauma and abuse, Dronningen is a story of how a woman can be a predator just as easily as a man. Indeed, the film reminds us that gender is irrelevant when considering the pain caused by such predation. Ultimately, Gustav is no different from the clients who Anne represents, but whereas she is shown to be remarkably protective of them, when Anne finds herself in the role of the perpetrator, her treatment of Gustav is as reprehensible as anything done to her female clients by their male abusers. This is tricky and emotionally complex territory, and Dronningen is never anything less than thematically fascinating. It's by no means an easy watch, but it is an exceptional piece of filmmaking.

I will start by saying that I like the Danish title much better than the English one. "Dronningen" means simply "the queen", and that is precisely what Anne (Trine Dyrholm) is in her world. Both at home and at work, she is the solid, self-confident and straightforward monarch everybody knows and expects her to be. Everything threatens to break apart when Gustav (Gustav Lindh), her husband's son from a previous marriage, moves from Stockholm to go live with them in the Danish countryside. She will prove ready to everything in her power in order to salvage her marriage and her reputation from downfall, even if this means to turn her back on everything she stands for.

Although the way in which the moral issues are addressed tends sometimes to be a little bit too didactic (see the fact that Anne's job as a lawyer is to assist teenagers who have suffered from abuses), the plot is overall pretty convincing and I'd dare say even gripping at times, especially in the second part of the film. The acting's also not bad at all, with some moments of genuine intensity.

The stepmother is, as someone else said, evil personified. But it comes as a shock because during the first 2/3 of the movie she is portrayed in an entirely different light: an abuse survivor who found her calling fighting for abuse victims. Although she is not without flaws, we ultimately think she is a good person; until it's revealed that not only is she a sexual predator, but a narcissist capable of unspeakable evil. A shocking turn in the film that made me literally hate this character. I've known a couple of actual sociopathic narcissists like the lead character in my life, and it's amazing how well they can manipulate people to being on their side, no matter what facts their victims lay out about the abuse inflicted by the narcissist. It's a horrifying dynamic, portrayed all too well in this film. Yes, it's a very entertaining drama thriller, like others that have come out of Scandinavia in recent years especially, but the shock and disgust factor at this character's actions cannot be understated. This one will stay with you.

"Queen of Hearts" brings you front and center to witness firsthand the maneuverings and manipulations of a feral and ferocious female narcissist. You will gasp and cringe in your seat at the lengths to which the main actress, Trine Dyrholm, goes to hide her misdeeds. This is neither the first nor the last film that showcases a full-blooded narcissist, and narcissists are predictable, but it differs by delivering a stunning in-depth insight into the volcanic and corrupted mechanizations of the narcissistic mind. Sooner or later we all meet a certain Queen or King of Hearts. They walk among us looking and acting deceptively normal. Behind the normal façade is a web of cunning lies and deceptive ploys with one goal in mind: to always and forever be the Queen or the King regardless the cost. If you are open minded this film will give you subtle tips on how to avoid or recognize this kind of behavior and make you reflect on whether you have narcissistic traits yourself. Trine Dyrholm plays the part with such fierce conviction that it sends chills down your spine. This she-devil deserves an Oscar for her performance.

Extremely suspenseful - second half leaves you at the edge of your seat. Main actress is incredible. Camera and editing has great feeling for scenery and timing. No cliches at all. Very subtle in portraying thoughts and emotions of the characters. Quiet moments are the most powerful. Must watch for fans of intelligent, controlled and thoughtful cinema.

Heavy tension. Perfectly acted. It left me in a intense state of anguish. Watch it because it's a good movie, perhaps a bit too long.

You immediately get sucked into their world, and feel a part of the family and situation. It's truly an experience in its own right to watch this movie, because you feel the feelings of the characters and at times feel equally confused and frustrated. It's an emotional rollercoaster that you feel apart of.

Growing old or up is not something that will be the same for everyone. Also if you marry someone, you may find yourself realizing that you are not entirely fulfilled. Whatever you need to satisfy your need - the question is, how far can you go in making sure you get what you want? Or pursue happiness - it does not always include your partner.

There are quite a lot of questions this movie does raise (more for the viewer to find, but also some very obvious ones). Cheating can have many forms! But even in the most known one, you can cross a line that is ... well let's say hard to forgive if found out. The movie paints realistic relationships, has strong sex (as the censors would say I reckon) and very good performances by the actors. It doesn't even feel too long - everything makes sense and it has an ending that I feel most will understand and love (whatever that may mean for each individually)

What I like about this movie:

• The story is convincing.
• Well acted. especially the main actress, she is outstanding.
• Unlike other older woman younger man relationship movies, this movie seems quite authentic.
• It dwells with various aspects of human psychology. The director and screenplay writer of the movie May el-Toukhy and Maren Louise Käehne. Both are women. They portrayed the psychology of a middleaged woman very well.
• I like the camera works. Director May el-Toukhy has done a really good job.
• The scenarios are good. Beautiful and peaceful in a sad way.
• There are some brief bold scenes in this movie that I've never seen any other movies with this quality.

My reason for giving it 10/10 is that this is the best I've watched in this genre.

The greatest movie of 2019 so far. Really enjoyable plot everything is near to masterpiece. Very intense drama. Really recommended. Oscar worth actress.

Saw this at the Rotterdam film festival 2019, where it was part of the Big Screen Competition (another film got the price, alas). Despite that I usually do not like relational dramas, this one involved me due to a compelling plot, believable characters and unexpected developments. It is sad that it does not end well for everyone involved (no details, no spoilers), but I don't think that a different outcome would have been so much better. Main character Anne makes unwise choices, and has to live with the dire consequences, but it is easy for us to say from our comfy chairs.

All in all, unexpectedly for me with this kind of relational theme, I scored a maximum 5 for the audience award, for which it eventually received a very good 13th place (out of 162) with score 4.487 (out of 5).

"Dronningen" is an intensely gripping film with an ultra-realistic narrative that culminates in a deeply unsettling and thought-provoking conclusion. It stands out as a production that doesn't shy away from disturbing its viewers.

The film's story is delivered with precision and captivation, and it immerses the audience into the lives of the characters. It's an emotional rollercoaster that leaves a profound impact and a sense of shock.

The performances in "Dronningen" are outstanding, contributing to the film's overall authenticity. The characters are complex and multi-dimensional, making the film all the more engaging.

This isn't a film for the faint of heart, but for those seeking an intense and contemplative cinematic experience, "Dronningen" is unquestionably a worthwhile choice. This film will occupy your thoughts long after the credits roll.

Incredibly slow: it could have a duration of 40 minutes, very limited script. Boring to me.

Too predictable; after the first sex scene I kept waiting until the end for something unexpected to happen but nothing, obvious ending.

Also, the acting is not convincing to me and the story is not credible. The acting of Gustav was too bad, seemed amateur.

The main actress performance was good though.

Would not recommend it to a friend.

Good Nordic psychological drama that examines parenthood current issues. The whismy title doesn't do it justice. The film is great, poignant and of tremendous relevance. Shot with great style and acting.

Serious topic. Great acting. But the story is just way to thin for two hours. 60 minuts at most. Felt like watching Luton - Coventry in 1986.