Luca Guadagnino’s Challengers explored the shifting power dynamics between the central characters of tennis professionals. Whether it was about sports or sex, these characters kept trading places across their collective journey. Sam H. Freeman & Ng Choon Ping’s ‘Femme’ explores something similar between its leads. It also follows a back-and-forth with regard to who holds the power in their relationship. Although sex is an essential component, it is not the only one.
‘Femme’ essentially revolves around two male characters who cross paths through an accidental encounter. One is a gay, black man, Jules (Nathan Stewart-Jarrett), who performs on stage with a drag persona. The other is a white criminal, Preston (George MacKay), who notices Jules after one of his performances. Jules recognizes Preston’s interest in him. However, Preston is reserved about his feelings. With a bunch of criminals he hangs out with, Preston attacks Jules and humiliates him.
After this horrifying event, Jules stops going out of his house and remains shell-shocked for a while. His friends recognize his lack of enthusiasm and try cheering him up. But, Jules fears getting back to his confident self. One day, he goes to a gay sauna and finds Preston inside. Preston still doesn’t publicly accept his sexuality and insults others with homophobic slurs. Still, after that encounter, Jules ends up with him on a sexual adventure.
Throughout their continued journey, Preston constantly stays in touch with his thug persona. He expects Jules to be submissive to his dominant side. Jules goes along with Preston’s whims and doesn’t object to his objectionable behavior. Even when they go on a date, Preston wants their relationship to be a secret. There is a constant tug-of-war that happens in his mind between a side that wants to be honest about himself and the one that finds it hard to let go of his conditioning. His gangster image seems like an attempt to fit in among his peers.
Unlike Preston, Jules can be honest about his emotions and sexual exploration because of his radically accepting peers. His alter ego / drag persona is flamboyant, unapologetic, and fearless. It seems like a healthy balance with his otherwise timid nature. However, Preston has to walk on a tightrope because of his peers, who try to bring him down rather than motivate or accept him.
The screenplay presents a fine contrast between these sides of their psyche. It aptly explores the grey shades of their characters and shines due to its humanistic approach. Instead of focusing solely on Preston’s deplorable actions, the script wants us to understand the history behind them. It refuses to be a reductive, two-sided drama and navigates its deeper themes with the required maturity.
Nevertheless, ‘Femme’ is a riveting thriller that tip-toes between different genres with silky-smooth precision. At times, it makes us question Jules’ intentions behind getting into a relationship with Preston. Is it out of genuine love or just for sexual pleasure? Does he seek intimacy or just revenge? The film continuously forces us to question its intentions and justifications. That is why it works as a supremely effective psychological thriller.
Sam H. Freeman & Ng Choon Ping capture their complicated relationship with finesse. They keep us hooked on a relationship that simultaneously feels like both a fantasy and a walking tragedy. Yet, Nathan Stewart-Jarrett and George MacKay’s committed performances make ‘Femme’ a captivating watch. They embody the insecurities, the rigor, and the strength of their characters with great understanding. Their performances make the film’s tension seem palpable and urgent.
Femme movie links: IMDB, letterboxd
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