As cinema continues to explore the complex landscape of radicalisation, a glaring gap remains in its representation of female extremists, often referred to as “femcels.” While male incel culture has received extensive attention in film and television, the narratives surrounding women who engage with or are influenced by toxic online ideologies remain largely unexamined. However, a few recent films are bravely venturing into this uncharted territory, igniting a crucial conversation about the darker aspects of female online radicalisation.
A Cinematic Blind Spot
Despite the saturation of media narratives surrounding male radicalisation, the portrayal of women’s experiences within the same sphere is noticeably sparse. From documentaries such as *Louis Theroux: Inside the Manosphere* to fictional explorations like *Joker* and *Don’t Worry Darling*, male perspectives dominate the conversation. In contrast, the emergence of female-centric stories in the so-called “womanosphere”—where a troubling mix of traditional gender roles and alt-right ideologies flourishes—has been shockingly underrepresented.
This oversight is particularly striking given that, in the 2024 US presidential election, approximately half of white women cast their votes for Donald Trump. While not every Trump supporter falls under the femcel umbrella, the connection between female influencers promoting conservative ideals and their role in fostering radicalisation cannot be ignored. Women’s involvement in alt-right movements is often downplayed, leading to an incomplete understanding of the complexities at play.
The New Wave of Femcel Cinema
Recent films are beginning to shed light on the phenomenon of femcels, offering nuanced portrayals that diverge from the aestheticised narratives of Instagram-obsessed characters. Notable entries include Radu Jude’s *Do Not Expect Too Much from the End of the World* and Kristoffer Borgli’s *The Drama*, both of which delve into the lives of women grappling with radical ideas.
In *Do Not Expect Too Much from the End of the World*, the character Angela, portrayed by Ilinca Manolache, epitomises the paradox of modern femininity. Balancing a mundane job with a vibrant online persona, Angela reels in viewers with her provocative rants, replete with the visage of infamous influencer Andrew Tate superimposed over her own. This duality highlights the ways in which influencer culture can lure women into a world rife with controversy and performative misogyny.
Similarly, *The Drama* tells the story of Emma, played by Jordyn Curet, whose harrowing past includes plans for a school shooting—an act that raises questions about the intersection of race and gender in narratives of violence. Critics have pointed out the film’s shortcomings in addressing these themes adequately, yet it does succeed in spotlighting the empathy deficit often afforded to women in extremist circles. Unlike their male counterparts, whose journeys away from radical ideologies are often met with understanding, women are frequently vilified for their transgressions.
The Case of Kelly-Anne in *Red Rooms*
In Pascal Plante’s *Red Rooms*, the character Kelly-Anne, portrayed by Juliette Gariépy, embodies another facet of femcel culture. A true-crime enthusiast and hacker, Kelly-Anne navigates a world of nihilism that drives her to self-destructive behaviours. As she becomes increasingly embroiled in the sensationalism of a murder trial, her obsession becomes a means of defining her existence.
Kelly-Anne’s character serves as a reminder that women’s radicalisation can manifest in diverse ways. Her descent into extremism, while not centred on violence, highlights the precarious balance between online engagement and real-world consequences. The film captures her struggle against societal norms, illustrating the complexities of female identity in the face of radical ideas.
The Need for Diverse Narratives
While these films mark a significant step in addressing women’s radicalisation, they remain few and far between. The question arises: why has mainstream media largely overlooked the subject of female extremism? Lois Shearing’s book, *Pink-Pilled: Women and the Far Right*, delves into this issue, positing that societal perceptions of women as inherently nurturing hinder recognition of their involvement in far-right movements. This “benevolent sexism” creates a narrative where women are seen as exceptions rather than active participants in extremist ideologies.
The characters of Emma, Kelly-Anne, and Angela challenge the traditional notions of femininity that society often clings to. Their stories disrupt the stereotype of women as passive observers, revealing a darker undercurrent of female agency in radical spaces. As cinema begins to explore these themes more deeply, it must strive for a more comprehensive portrayal of women who engage with harmful ideologies.
Why it Matters
The exploration of femcel culture in film is not merely an artistic endeavour; it serves as a critical reflection of contemporary societal dynamics. By acknowledging the existence and complexities of female radicalisation, we can foster a broader understanding of extremism that encompasses all genders. Challenging the narratives that have long dominated the discourse surrounding online radicalisation is essential in paving the way for more inclusive conversations about identity, ideology, and the impact of social media in shaping our worldviews. Only through these discussions can we hope to dismantle the insidious structures that allow such ideologies to flourish unchecked.
