Directed by Sam H. Freeman, Ng Choon Ping
Jules is a drag artist in London who withdraws into himself and loses his career after a horrific attack. Months later, he recognizes one of his assailants in a gay sauna and quickly realizes he has the perfect opportunity to get revenge.
變裝皇后復仇記, Femme - Seduction is revenge, 펨므, 女气, Женщина, נשי, 皇后復仇中, ล่อแค้น, فيم
Germany Berlin International Film Festival 
Canada Fantasia Festival 
Australia Melbourne International Film Festival 
UK Edinburgh International Film Festival 
USA ImageOut: Rochester LGBTQ+ Film Festival 
South Korea Seoul International Pride Film Festival Australia Melbourne Queer Film Festival 
Philippines QCinema International Film Festival Australia Mardi Gras Film Festival 
MacaoD Macao International Queer Film Festival 
FinlandK-16 USANR Canada18A 
Ireland18 UK18 
Spain 
Sweden15 
LithuaniaN-18 USANR 
Netherlands16 
Taiwan UK18 Spain UK18 Canada18A USANR LithuaniaN-18 UK18 Australia Canada Finland Germany Ireland Lithuania Macao Netherlands Philippines South Korea Spain Sweden Taiwan UK USA 
This review may contain spoilers. I can handle the truth.
FEMME is a perpetual push and pull. Between masculine and feminine, dom and sub, victim and victimiser, soft and hard, Preston and Jules. But as the film progresses and deepens its two characters, binaries are blurred and burned, breaking the boundary between the two and the absurdity and toxicity of inhabiting just one. Our reaction to the film isn't binary either. We are caught in the fraught feeling of being both repelled and compelled by the actions of Preston, and the increasingly sinister revenge that Jules seeks to partake in. It's a testament to the power of the films performances and filmmaking that in the moment of realisation for Preston, you are able to extend a feeling of empathy to…
George MacGay
The straights thought they could beat Chun-Li??
Captivating dark, neon, soft-core aesthetics and outstanding acting performances are let down by an uneven narrative that lures the viewer into thinking it centers on a (black) femme's retribution quest à la Kill Bill, yet ultimately shifts its focus into the white perpetrator's struggle with internalized homophobia. The interplay between an openly gay character and a closeted one is worth exploring but this film can't reach a satisfying climax because it oscillates unceremoniously between these arcs.
This review may contain spoilers. I can handle the truth.
I do not recommend any black person watch this. It is one of the most stunningly anti-black, soul-deadened films I think I’ve seen in a very long time. Bookended by grave violence toward its black gay drag queen lead, Jules, I can’t emphasize just how much this movie sucks. The beginning is a vibrant and lush gay fantasia (gave me Tumblr mood-aughts moodboard vibes crossed with a pale imitation of I May Destroy You) broken by a night that turns into a homophobic hate crime. This movie cares more about the Nazi-coded homophobic violent monster turned romantic interest than its vulnerable black gay lead. It portrays a violently toxic relationship in romantic light and sympathizes with the white man dolling…
I will fix him
loveeeee george mackay sitting in the booth at the club looking like jasper cullen if he was a roadman
strong thriller on identity and internalised homophobia that never loses the focus on his two protagonists and their inner worlds, despite having a suspenseful story arc as framework. Stewart-Jarrett and MacKay balling out-and-out. one of the best entries of queer cinema i've seen in a long time.
Accurate representation of how us gays turn into lads when playing multiplayer video games
I think this is the best queer story of 2023. A black drag queen's extreme plan to revenge on her attacker turns out not to be a satisfactory ride, but a hard-hitting, heartbreaking look into the homophobia and transphobia of the world, and how they are still ruining queer people's bodies and souls.
Equally erotic and unpredictable, this is an edge-of-your-seat experience from the get-go. The most interesting aspect here is the intricate dynamics between the two protagonists, who are way more than a one-dimensional representation of the stereotype, and the crazy chemistry between Nathan Stewart-Jarrett and George MacKay is so shockingly believable it makes all the turmoil and misery all the more realistic and disheartening. Highly recommended.
Straight up, this is the worst film I’ve watched in a minute. I am actively encouraging you to pass this one over if you’re considering it.
It’s astounding how much the film wants Jules to suffer and be uncomfortable. From the moment fascist-coded time bomb Preston is introduced to the very final frame, he is a non-stop source of anxiety from his threatening outbursts to his pitiful moments of vulnerability. We are asked to consider his feelings or his rage ad nauseam while Jules develops feelings for him? It’s difficult to tell for sure. The film surrounds a queer black femme with white people who all harbor some level of resentment for their very existence but this is never addressed…
george mackay george mackay george mackay
