"Femme", a daring film penned and directed by Ng Choon Ping and Sam H. Freeman, presents an intense storyline echoing classic revenge narratives with a contemporary aesthetic. This stylistically intriguing but ethically provocative movie delves into the theme of anti-LGBTQ+ violence, challenging the viewer's perspective on retribution.

The protagonist, Jules (Nathan Stewart-Jarrett), a captivating drag performer, mesmerizes his audience and enjoys the adoration of his friends. One night, after a show, he encounters a suspicious character, Preston (George MacKay), triggering a chain of events that dramatically changes Jules' life. He experiences a brutal assault at Preston’s hands, leading Jules to retreat from his vibrant lifestyle. However, an unexpected meeting at a bathhouse presents Jules with a chance for retribution that he seizes.

"Femme" navigates a delicate balance between a tale of revenge and personal empowerment. Attempting to mirror the humiliation he experienced, Jules lures Preston into being exposed through their intimate online recording. The film steers into a moral gray area as it tries to frame Jules' actions as justified revenge, portraying his strategy of outing as a form of queer violence. Aspects reminding of the overarching narrative of the 'rape revenge thriller', such as "Ms. 45", are present, yet "Femme" chooses a more grounded representation of vengeance.

Despite its questionable ethics, the film's aesthetic charm, realized through the diligent work of directors Ng Choon Ping and Sam H. Freeman and cinematographer James Rhodes, is undeniable. From the vibrant club scenes to the subdued illumination in Jules' domicile, the film frames an compelling visual story that complements the narrative.

"Femme" delves deep into Jules' journey of retaliation and healing. Whilst accurately depicting the traumatic experiences that Jules endures, the film inadvertently overlooks the more light-hearted aspects of queer life. Nevertheless, through this challenging journey, the film finally circles back to the notion of reclaiming one's power and identity from hate, although Jules' execution might not universally resonate.