‘Femme’ review: George MacKay is frightening as a hyper-masculine thug in this daring London-set neo-noir | Berlinale

Femme is a neo-noir-inspired queer revenge thriller that stars British actors Nathan Stewart-Jarrett and George MacKay. Writer-directors Sam H. Freeman and Ng Choon Ping show great promise as they deliver a provocative, subversive and potent debut feature. The film is based on the 2021 short that won the duo a BIFA and got nominated for a BAFTA. The feature recasts Paapa Essiedu (BBC’s The Capture and Alex Garland’s Men) and Harris Dickinson (of Triangle of Sadness fame) with Stewart-Jarrett and MacKay, the two best replacements they could’ve asked for. All four actors are on the top of their game, so no matter the combination of actors they ended up with, Freeman and Ping were working with gold.

Set in London, the film opens with Jules (Stewart-Jarrett), a drag performer, working the stage under the stage name Aphrodite Banks. Jules is in his element as Aphrodite, who he believes is more true to himself than his usual persona. But his world is turned upside down as he takes a trip to the local corner shop where he crosses paths with Preston (MacKay), a self-acclaimed roadman (the English term for thug) covered in tattoos. Preston’s friends begin mocking Jules for wearing drag which leads to Jules snapping back against their homophobic and transphobic comments. The gang of homophobic roadmen follow Jules out of the shop and violently attack him, which crushes Jules’ confidence to ever perform again. 

Jules retreats into seclusion, never leaving the confines of his London apartment. But after mustering up a bit of confidence, he decides to visit a gay sauna where he stumbles across his attacker, Preston. The mere sight of his assaulter who had shattered his spirit initially leaves him shocked, but he has a change of heart as Preston bluntly extends an invite to join him in his car after catching Jules’ lingering glances. Oblivious to their past as he had only seen Jules as his Aphrodite persona, Preston leads Jules to the nearby forest for a sexual encounter. Although unbeknownst to him at the time, Jules quickly realises that he could find retribution by exposing Preston as a closeted homosexual. At this particular juncture, the directors pose a moral question about right and wrong. Will Jules overcome his fear that’s fused with anger, or embrace his innermost instincts which call for revenge?

Inspired by neo-noir thrillers like the Safdie’s Uncut Gems, which are known for their inherently masculine sensibilities, the writer-director duo set out to make a subversive thriller with a queer protagonist seeking revenge. They ride a thin line between the cinematic pleasure of being a referential and engaging neo noir and the trauma that the protagonist deals with. Utilising a hate crime to kick off Jules’ journey of revenge could be perceived in a good or bad light, it really depends on how you, individually as a spectator, look at it. Jules is a fascinating character that is well developed, viewers will find themselves utterly transfixed with his story, and is able to divert his pain and anger into a precarious mission that will keep one on the edge of their seat, biting their nails. This is largely due to the impulsive nature of MacKay’s deeply closeted antagonist who regularly loses it over anything that at all surprises him, but behind his walls he is a deeply uncertain man. Stewart-Jarrett and MacKay’s on-screen chemistry is outstanding, their character’s relationship is constantly evolving as their power structure changes. One is never quite sure of the true purpose of all their physical engagements, but a clearer picture becomes obvious as the film churns along. 

There is nothing too special when it comes to the actual filmmaking itself, Femme plays it rather safe. Yes, there are the neon colours from the film’s inspirations and plenty of shaky cam to mirror the destabilisation of the character’s lives. But there is nothing much more to James Rhodes’ cinematography than what’s on the surface. Nuance and deeper meaning is only really found in the performances and screenplay which are without a doubt the most effective aspects of the film. The story keeps one engaged as its subversive nature is inherently fascinating, the audience is always left wondering what move will Jules make next.

Femme is an potent debut feature from Sam H. Freeman and Ng Choon Ping, who showcase a unique queer perspective on a well-documented, typically masculine-centric genre of filmmaking. They are, sadly, spot-on when it comes to their depiction of London and the ongoing violence that the LGBTQ+ community faces at the hands of homophobic and transphobic thugs. It’s a powerful portrait that will connect to audiences world-wide.

Grade: B

This review is from the 73rd Berlin International Film Festival.