A debut feature of almost unbearable tension, Femme is a queer psychodrama about shifting personas and nebulous balances, or imbalances, within relationships. Even though it’s sold short by its marketing as a revenge thriller – there’s nothing so straightforward here – the threat of palpable violence pulses like its grungy neon and booming EDM aesthetics.

Jules (an outstanding Nathan Stewart-Jarrett) is a drag artist who performs as the acerbic Aphrodite. A homophobic assault at the hands of a gang after being on stage one evening leaves him depressed and scared to venture out. Forcing himself to leave his flat one evening he spots Preston (George MacKay) at a gay sauna. Recognising him as one of his attackers, he makes an approach and the two begin a transgressive relationship. What is Jules’ endgame, and what are Preston’s motivations?

It’s difficult to read the intentions of Jules, as most of his actions seem counter-intuitive, if not actively masochistic. There seems little about Preston to warm to. He’s always one innocuous comment away from an explosion, his eyes furtively dancing around if constantly expecting an assault from all quarters. However, as the grip of the film tightens and the slippery dynamics of the situation are established, it becomes almost hypnotic. You even begin to see a softer side to the volatile Preston, so compartmentalised he’s practically added a sturdy padlock to his own closet. There’s a constant dread of discovery from his gang, yet he’s clearly excited at the thought of stolen intimacy with Jules just out of their sight. That dread is also omnipresent on Jules’ behalf too. You will him to take any of the many opportunities he has to leave, but he’s determined to see whatever his plan might be through to the end.

Some coverage of the film has been critical of its adherence to the trope of internalised homophobia being released as violence, and it’s quite difficult to argue that the cliche doesn’t apply in Femme. Preston’s aggression is too obviously fuelled by self-hatred and there’s always a sense that Jules is on a hiding to nothing. Sam H. Freeman and Ng Choong Ping almost sadistically suspenseful screenplay is never likely to wallow in catharsis. Still, both Stewart-Jarett and MacKay are so good – aptly for a film all about performance – and their potentially deadly dance so compelling, that it more than compensates for its wilder swings.

Available on various streaming platforms from Mon 15 Jan 2024