Femme (2023)
Directors: Sam H. Freeman, Ng Choon Ping
Screenwriters: Sam H. Freeman, Ng Choon Ping
Starring: Nathan Stewart-Jarrett, George MacKay
Adapted from a short film into a feature-length debut, Femme marks the first full-length collaboration between directors Sam H. Freeman and Ng Choon Ping. Expanding an original eighteen-minute short into a taut, emotionally complex film is a difficult task, yet the directors manage to retain the short’s core intensity while enriching its characters, atmosphere, and themes.
At the center of the story is Jules (Nathan Stewart-Jarrett), a drag performer who endures a brutal homophobic assault after one of his shows. Months later, after he has recovered and abandoned his stage persona, Jules enters an unexpected sexual relationship with Preston (George MacKay), the man who attacked him. The film examines how trauma, memory, desire, and agency intersect—how a past that removed control can be reshaped into something that feels, in some warped way, controllable or even pleasurable.
Speaking at the UK premiere, the filmmakers discussed how trauma can be internalized and transformed by the psyche, sometimes becoming entwined with desire as a form of defense. This paradox—where pain and pleasure coexist—drives the movie’s emotional tension and keeps the audience unsure of where sympathy, danger, and attraction will fall. It is this moral and psychological ambiguity that the film explores with sensitivity and restraint.
The screenplay is one of the film’s greatest strengths. It demonstrates a keen psychological insight, carefully revealing character histories and emotional scars rather than explaining them outright. By returning Jules to the physical presence of his attacker, the script generates a sustained unease that fuels the narrative: will Preston recognize Jules, will Jules pursue revenge, or might something unexpected develop between them? The screenplay balances suspense with intimacy, creating a slow-burning drama that never feels contrived.
This delicate writing is matched by two outstanding lead performances. Nathan Stewart-Jarrett brings complexity and nuance to Jules, portraying a man who shifts between different personas depending on context. Onstage, Jules is dazzling and larger-than-life; offstage, he adopts other masks—sometimes conforming to hypermasculine expectations when in the company of Preston’s friends, at other times revealing vulnerability and weariness. Stewart-Jarrett makes each variation believable, suggesting history and survival strategies rather than simple theatricality.
George MacKay delivers a startlingly multifaceted performance as Preston. Physically and emotionally, he transforms from a threatening figure into a man capable of charm and tenderness in private moments. MacKay avoids a one-note portrayal of menace; instead, he crafts a character whose rough exterior hides layers of insecurity and contradictions. The film invites the audience to discover these facets alongside Jules, deepening the narrative stakes.
The chemistry between Stewart-Jarrett and MacKay is a core element of the film’s success. Scenes that place them in close proximity crackle with tension and ambiguity. An early restaurant sequence is emblematic: Preston spreads himself across the table, dominating the space, while Jules sits small and guarded, visually underscoring the power imbalance between them. In moments like this, the film’s writing, cinematic framing, and performances combine to convey more than dialogue alone could achieve.
Freeman and Ng, working as a directing team, exhibit visual flair and a sure hand with actors. Their use of neon lighting and vibrant wardrobe choices creates striking visual contrasts that mirror the film’s thematic tension between glamour and trauma. Cinematography and production design amplify moments of intimacy and threat alike, allowing the film to feel stylish without sacrificing emotional clarity. For first-time feature directors, their control of tone and imagery is noteworthy.
Femme is both unsettling and compelling: it confronts viewers with difficult subjects while remaining attentive to the human complexity beneath headline emotions. The film does not offer easy answers, and some viewers may find it challenging to watch the dynamic unfold between victim and attacker. Yet for those willing to engage with its moral complexity, it provides a provocative exploration of desire, memory, and identity—anchored by two powerful central performances and a thoughtful screenplay.
In sum, the 2023 feature debut of Femme is a compact, effective drama that showcases the promising talents of its directors and leads. It manages to turn a short-form idea into a full-length narrative that feels lived-in and intentional, delivering an intimate study of how people attempt to reclaim agency in the aftermath of violence.
Score: 18/24
Rating: 3 out of 5.
Recommended reading: more coverage from the Edinburgh International Film Festival.