As the world increasingly grapples with the complexities of radicalisation, a curious void emerges in cinematic narratives: the absence of compelling depictions of women within the so-called ‘femcel’ culture. While films have extensively portrayed male incels and their toxic ideologies, the same cannot be said for female counterparts. This glaring oversight begs the question: why are female narratives within this spectrum so underrepresented, especially in light of the rise of online extremism and the so-called ‘womanosphere’?
A Cinematic Imbalance
In recent years, mainstream media has largely focused on the phenomenon of incel culture, delivering a series of explorative narratives through documentaries and films. Productions like *Adolescence* and Louis Theroux’s *Inside the Manosphere* have dissected the male experience, while films such as *The Joker*, *Don’t Worry Darling*, and even *Barbie* have approached the subject of male radicalisation from various angles. However, the cinematic lens on women who veer into these dark corners remains significantly narrower.
This lack of representation is particularly striking against the backdrop of the rise in tradwife culture and the increasing visibility of female influencers within the alt-right movement. A staggering statistic reveals that approximately 50% of white women in the United States cast their votes for Donald Trump in the 2024 elections. Yet, not every woman who aligns with these views fits neatly into the femcel category. Unlike their male counterparts, women in the alt-right often engage in less overtly aggressive behaviours, promoting more palatable right-wing ideals through social media and influencer platforms.
The Struggle for Recognition
Cinema’s attempts to address women’s online radicalisation have often been limited to superficial portrayals, focusing on aesthetic narratives rather than the underlying issues at play. Films like *Ingrid Goes West*, *Not Okay*, and *Sick of Myself* have showcased the lengths to which women will go for social media validation. Still, a few brave films have begun to delve deeper into this complex subject.
Radu Jude’s *Do Not Expect Too Much from the End of the World* and Kristoffer Borgli’s *The Drama* stand out as notable examples that attempt to explore the darker aspects of women’s online lives. In *The Drama*, Zendaya and Robert Pattinson portray a couple grappling with the aftermath of a shocking revelation: the female lead, Emma, once plotted a school shooting during her teenage years. Critics have raised concerns about Borgli’s handling of race and gender dynamics, particularly questioning how a black girl could relate to an act predominantly associated with white male perpetrators. The film ultimately reveals how society often extends empathy to men who break away from extremist ideologies, while women are met with disdain and judgement.
Unpacking the Femcel Experience
In *Red Rooms*, directed by Pascal Plante, we encounter Kelly-Anne, a hacker enthralled by true crime and the darker facets of the internet. Her character is obsessed with a trial involving a suspected murderer, showcasing the variety of experiences within femcel culture. Unlike male incels, Kelly-Anne’s nihilism does not manifest in violence but leads her to self-destructive behaviours, such as attending court dressed as one of the victims, which inadvertently jeopardises her modelling career. This portrayal hints at the complex motivations behind women’s engagement with extremist ideologies, often overlooked in broader discussions about radicalisation.
Angela, from Jude’s film, encapsulates the irony of influencer culture. A production assistant in Bucharest, she spends her days in mundane tasks yet finds her voice through rants that echo misogynistic narratives, complete with a filter that overlays Andrew Tate’s visage onto her own. Her story illustrates the allure of the influencer lifestyle, which can lead women down paths that challenge traditional views of femininity and morality.
Why it Matters
The cinematic landscape’s reluctance to confront women’s roles in radicalisation perpetuates a narrative that disregards their agency and experiences. By failing to depict women’s involvement in these complex issues, we miss an opportunity to understand the multi-faceted nature of extremism. The stories of Emma, Kelly-Anne, and Angela reflect a reality that is often ignored: women, too, navigate the treacherous waters of online radicalisation. As filmmakers begin to grapple with these narratives, it is crucial that they do so with nuance and depth, acknowledging that the battle against misogyny cannot be fought by highlighting male experiences alone. Understanding women’s participation in these dynamics is essential for a comprehensive approach to tackling extremism in all its forms.