Name: Queen
Genre: Drama
Released: 2022-06-23T00:00:00+00:00
Cast: Andrzej Seweryn, Maria Peszek, Julia Chętnicka, Antoni Porowski, Henryk Niebudek

The first shot of Łukasz Kośmicki’s Queen (2022) lingers on a sequined train ticket, its surface catching the light as it tumbles across a wooden bench. It’s an unexpected opening for a drama, but one that immediately establishes the series’ preoccupation with transformation and the weight of history. This ticket belongs to Sylwester Borkowski vel Bork (Andrzej Seweryn), a renowned Parisian tailor and drag queen who has returned to his Polish hometown after decades away, seeking reconciliation with his daughter Wioletta Nowak (Maria Peszek). Kośmicki’s series, grounded in the specifics of small-town Poland, refuses easy sentimentality or melodrama. Instead, it offers a quiet, deeply human exploration of family, identity, and the complexities of belonging.

Queen is a drama first and foremost, but one that wears its genre lightly. Kośmicki’s direction is restrained, favoring subtle performances over broad strokes. The series’ strength lies in its ability to draw out the nuances of its characters’ relationships, particularly the fraught dynamic between Bork and Wioletta. Their interactions are charged with decades of unspoken history, each conversation a careful negotiation of pride, regret, and love. This central relationship anchors the series, providing a solid emotional core that keeps even the more fantastical elements grounded.

The performances are where Queen truly shines. Andrzej Seweryn delivers a career-best turn as Bork, capturing the character’s charisma and vulnerability with equal measures of grace. His portrayal of Bork’s public persona is electrifying, filled with a larger-than-life energy that commands attention. Yet it’s in the quieter moments, when Bork is alone or with Wioletta, that Seweryn truly excels. The actor’s ability to convey complex emotions with subtle shifts in expression and posture is remarkable, making Bork one of the most compelling characters in recent television.

Maria Peszek is equally impressive as Wioletta, bringing a mix of steel and softness to her role. Her performance is a masterclass in understatement, each glance or sigh speaking volumes about her character’s inner turmoil. The chemistry between Seweryn and Peszek is palpable, their scenes together crackling with tension and unspoken emotion.

The supporting cast also delivers strong performances, particularly Julia Chętnicka as Izabela Nowak and Antoni Porowski as Antoni. Chętnicka brings a quiet strength to her role, while Porowski infuses Antoni with a warmth and humor that provides much-needed levity. Justyna Ducka as Renata and Henryk Niebudek in an unspecified role also stand out, their performances adding depth and texture to the series’ rich tapestry of characters.

Kośmicki’s direction is marked by a keen eye for detail and a commitment to authenticity. The series’ production design is meticulous, with each setting—from Bork’s Parisian atelier to Wioletta’s modest home—carefully crafted to reflect its inhabitants’ personalities and histories. The cinematography is equally impressive, with Kośmicki and his team crafting visually stunning compositions that elevate even the most mundane scenes. The use of color is particularly noteworthy, with the series’ palette shifting to reflect the emotional state of its characters and the tone of each scene.

Themes of identity and belonging are woven throughout Queen, explored through Bork’s experiences as a drag queen and immigrant. Kośmicki avoids easy stereotypes, instead presenting a nuanced picture of acceptance and rejection that feels authentically lived-in. Scenes like Bork’s confrontation with a homophobic local are powerful not because they’re confrontational, but because they’re humanizing. They reveal the complexities of prejudice and the ways in which it can shape—and be shaped by—individual experiences.

However, Queen is not without its flaws. The series’ structure can feel uneven at times, with some episodes struggling to maintain momentum. The pacing issues are particularly noticeable in the middle episodes, where the narrative seems to stall as it builds toward its climax. Additionally, while the performances are strong across the board, some of the supporting characters feel underdeveloped, their motivations and backstories left tantalizingly out of reach.

Yet these flaws are minor in comparison to the series’ many strengths. Queen is a drama that balances heart and artistry, its emotional resonance amplified by Kośmicki’s commitment to authenticity and his cast’s exceptional performances. It’s a series that demands patience and attention, rewarding viewers with a rich, deeply satisfying exploration of family, identity, and the complexities of belonging.

In an era of television dominated by high-concept dramas and blockbuster spectacle, Queen stands out as a testament to the power of quiet storytelling. Kośmicki’s series is a reminder that the most compelling narratives are often those that focus on the intricacies of human relationships, exploring the ways in which our pasts shape our presents and our futures.

Queen is a series for viewers who appreciate nuance and depth, who are willing to invest time and emotion in characters and stories that unfold slowly but powerfully.