Femme

Writers and Directors: Sam H. Freeman and Ng Choon Ping

Femme follows Jules, an out and proud gay guy who entertains as a drag artist. After one of his gigs, he is set upon by a gang of lads for simply retorting to a jibe made by apparent ringleader Preston. He’s a hot head with a fiery temper and thinks nothing of brutally beating a distraught and terrified Jules, who, dishevelled in drag appears at his most vulnerable. Sometime later, Jules is astounded to come across Preston at a gay sauna. In his usual dress, Preston fails to recognise Jules, who then enters an intense cat and mouse game with his attacker. The end goal: revenge. He will film the closeted Preston in the act of sex and expose him online.

The opening attack might be somewhat hard to digest but it portrays attitudes and actions towards members of the LGBTQ+ community that remain all too common within our society. It also sets the tone for what turns out to be an incredibly moody, atmospheric and often intense cinematic experience. Co-writers and directors Sam H. Freeman and Ng Choon Ping work hard to tackle well-trodden subject matter through a fresh lens in this, their debut feature following its incarnation as a short film back in 2021. They succeed in subverting all expectations, keeping us on our toes throughout the one hour thirty-nine-minute running time, which mostly flows at a healthy tempo. There are occasional dips in momentum, but ultimately this is a carefully considered production that knows when to pull punches and allow its quieter moments to do the talking.

James Rhodes’s cinematography adds to the brooding, occasionally unsettling mood that prevails. Almost every scene takes place at night, which contributes to the foreboding feeling, however Rhodes cleverly utilises various shades of darkness throughout. We therefore know when our protagonist is close to danger and when he is, for example, in the safety of his home and his friends. We also receive the sense that both light and darkness exist within all of us to some degree. A murkiness dominates, affording the film the realness it needs for its points to land and for its audience to truly become absorbed in its world.

It is no exaggeration to say the acting on display here is phenomenal. Nathan Stewart-Jarrett fully immerses himself into the drag persona of Jules, bringing sassy energy and verve. He convinces when attempting to sound more street in front of Preston’s boys and conveys fear and fragility in the most harrowing and believable way where necessary. One cannot help but invest in this character, willing him on even when his actions are questionable. The always exceptional George MacKay also embodies his character with remarkable detail. From his tattoo laden appearance to his ‘street’ voice, we expect Preston to erupt at any time. However, we are permitted rare glimpses of the tormented, lonely boy beneath the façade who is crippled by internalised homophobia. Many of his character’s actions and behaviours towards Jules are symbolic of his attitude to being gay, with the ending powerfully articulating this. While he may be the antagonist, the writing and performance prevents Preston from ever veering too close to stereotype, instead humanising him. We can detect the pain, the bravado and the misplaced anger of this complex character and, seeing him through Jules’s eyes, we know he is not the mindless thug he appears to be when we first meet him. The sexual chemistry between the two leads practically oozes through the screen and is testament to their acting prowess as well as being an example of exceedingly well-judged casting.

There is not a neatly tied up ending here and nor should there be. This is an examination of gender and identity and the personas we choose to adopt against those we feel forced to. It is about homophobia and toxic masculinity, morality and revenge, alienation and loneliness – all of which are compressed into a stirring ninety-nine minutes. Each one counts and you come away with the exhilarated enervation of having journeyed into territory you might not usually venture to.

Signature Entertainment presentsFemmeexclusively in cinemas 1st December.