The erotic thriller genre isn't one I'm too fond of, because the gender politics have often been very skewed and there are bad cliches all over the place. "Femme," however, which is an LGBT erotic thriller, manages to take some of these cliches and do something different with them. The contrivances are no more believable than you'd see in something like last year's "Fair Play" or "Sanctuary," but because of the dynamics in play, and the danger still inherent in being out and proud in many places, "Femme" feels much closer to life, with more serious stakes, than any other romantic thriller I've seen in a long time.
Jules (Nathan Stewart-Jarrett) is a gay black Londoner who performs in drag under the name Aphrodite. One night he's brutally attacked by a group of thugs, and becomes withdrawn. He stops performing or appearing in drag. Still in recovery, Jules visits a bathhouse and unexpectedly sees his primary attacker. This is Preston (George Mackay), who is so deep in the closet that he's created a hyper-masculine facade for himself, hangs out with drug dealers, and tends to fly into violent rages when he feels threatened. Preston doesn't recognize Jules, but is attracted to him and shows interest. Jules decides to take the opportunity to have his revenge, seducing Preston with the intent to film one of their encounters and expose him.
Written and directed by newcomers Sam H. Freeman and Ng Choon Ping, "Femme" exists in a nocturnal world of nightclubs, convenience stores, bedrooms, and darkened streets. It feels very much like a no-frills indie production, which suits the subject matter. The sexuality is very raw, with multiple sex scenes being central to the plot, and some deliberately shot to emulate pornography. Likewise, the violence is very tactile, especially the initial attack sequence that leaves Jules shattered. There's always a looming, palpable sense of danger as Jules and Preston's relationship progresses. The situation is volatile, and everyone is lying. Both of our leads are performing what they think the other wants, but as they genuinely start to connect, the lines get blurry. Through the relationship, they find they can explore different sides of themselves as the power dynamics shift and change.
The performances are what make this unlikely story work. Stewart-Jarrett and Mackay are constantly juggling all these different versions of Preston and Jules as they struggle to adapt to each new situation and phase of their relationship. They code-switch repeatedly, depending on the environment, who they're with, the context of the interactions, and their relative level of comfort. Jules as over-the-top Aphrodite is very different from the accommodating Jules who is trying to keep Preston's interest, and the bolder, more dominant Jules who reads as straight enough to hang with Preston's crew. Which of these versions of Jules is Preston responding to, and are any of them really Jules at all?
Speaking of Preston, covered in tattoos and forever posturing, he comes across as more and more vulnerable as the film goes on. Mackay is genuinely threatening in the early scenes, spewing toxic masculinity every time he opens his mouth. But put him in a different context, and suddenly the behavior is self-hatred. Watch him in his chosen environment, with his friends, and suddenly the behavior is self-preservation. Preston's paranoia about being outed makes perfect sense, and so does his violence - he's embodying all the homophobia he's afraid will be turned on him. The performance is genuinely moving, as it becomes clear that Preston may not actually want to live like this.
We don't see this side of the LGBT experience very often in mainstream cinema, which often goes with the broadest stereotypes and assumes all gay men act a certain way and exist in a certain familiar cultural milieu. "Femme" is far more nuanced, acknowledging the complicated implications of femme and masc behaviors, unhealthy relationships and coping mechanisms, and that doxxing and revenge porn can get someone killed. The premise is salacious on its surface, but fascinating when you look at all the different issues of identity and psychology being explored.
This feels like uncharted territory, if only because this is the first time I've seen many of these themes addressed through such an intimate lens. "Femme" really should be getting more attention, but it was a great movie year, and it's fallen through the cracks a bit. It's a shame, because I can't wait to see more from everyone involved.
---
No comments:
Post a Comment