Review | ‘Femme’: Seduction, internalized homophobia, revenge
“Femme’s” Nathan Stewart-James and George MacKay knock it out of the park with their performances. The film is an erotic, brutal and shocking portrayal of a drag queen seeking revenge. Photo collage by JACK SUNDBLAD, Staff Photographer
Trigger warning: Mentions of homophobia, assault
Ladies, gentlemen and all those who transcend gender, “Femme” should be the next film on your watchlist.
Based on the short film of the same name, “Femme” follows drag queen Jules (Nathan Steward-James) who is attacked by a homophobic man at a corner shop. Months later, when visiting a gay sauna, Jules sees his aggressor, Preston (George MacKay), across the room. Preston doesn’t recognize Jules at all. Jules sees this as the perfect opportunity for revenge.
The film is an anxiety-driven, heart-pumping thriller that deals with some of the genuine horrors that queer people face every day. Walking down the street, just being yourself, is enough to unwillingly invite homophobic people to cause harm in some way.
The story could have been a basic, homophobic hate crime film, but directors Sam H. Freeman and Ng Choon Ping turned it into something much more sinister, sexy and nuanced than anyone could have imagined. You will leave the theater with your jaw dropped and your hands sweating — but in a good way.
Theater kids will know Stewart-Jarrett from his performance as Belize in the National Theater’s 2017 live production of “Angels in America,” a play about New Yorkers battling with the AIDS crisis during the mid-’80s. From title card to end credits, his portrayal of Jules in “Femme” will have your eyes watering and your heart in pieces. While Jules is a character of few words, Steward-Jarrett’s performance is nothing short of stellar.
Opposite Stewart-Jarrett is Hollywood up-and-comer George MacKay. You have likely seen him in films like “1917,” “Captain Fantastic” and maybe even as Curly in the 2003 version of “Peter Pan.” “Femme” will be an interesting watch for fans of MacKay’s sweeter roles. Audiences will walk a fine line between empathy and hatred towards his character Preston. You won’t want to feel bad for him, but after seeing the shame and internalized homophobia he carries on his back, compounded with the people he is surrounded by, it’s hard not to.
The two of them together have undeniable chemistry. It’s a constant tug-of-war between them — pushing and pulling between feminine and masculine energy. Trust me, your hangnails will be bleeding, and your teeth will be ground flat.
The duo even won the British Independent Film Award for Best Joint Lead Performance at the end of last year. After watching the film, you will see that it is well deserved. They handle the characters with such care and complexity that it may take a second watch to really catch all the details.
I won’t lie to my Panther Newspaper readers — two people left the screening I was in less than halfway through the film. I don’t know what exact moment pushed them over the edge; it really could have been any one of the scenes in the film.
There has also been some controversy around it as a depressing and saddening portrayal of a queer character. To that, I say: are we supposed to hide stories of queer pain and only create stories of queer joy?
It may not be exactly the queer thriller you had in mind, but the risks it takes in storytelling, character relationships and visuals are sure to quench your thirst for a little while. It’s real. It’s horrific. If you are up for the intensity, it’s something you won’t want to miss.
