Despite an extensive portrayal of male incel culture in modern cinema, the representation of women who engage in similar extremist behaviours—often dubbed ‘femcels’—remains alarmingly sparse. This disparity raises important questions about the narratives we choose to amplify and the voices we inadvertently silence.
The Gender Divide in Radicalisation Narratives
In recent years, mainstream media has extensively examined the incel phenomenon, delivering a slew of documentaries and dramatic works that delve into the psyche of disillusioned young men. Productions like *Adolescence* and *Joker* have provided insight into male radicalisation, yet the cinematic landscape is notably barren when it comes to the complexities of female radicalisation.
This oversight becomes glaringly apparent in light of cultural shifts, including the rise of the so-called ‘tradwife’ movement and the growing influence of female figures within the alt-right, often referred to as the ‘womanosphere’. For instance, it’s striking that approximately 50% of white women in the US cast their votes for Donald Trump in 2024. While not all female Trump supporters can be classified as femcels, the parallels between male and female radicalisation are worthy of exploration.
A Shallow Exploration of Femcel Culture
Films that have ventured into the territory of women’s online radicalisation often do so superficially, opting for aestheticised portrayals of social media addiction over substantive narratives. Titles like *Ingrid Goes West* and *Not Okay* skim the surface without addressing the deeper implications of their characters’ behaviours. However, a few recent films are beginning to break this mould.
*Do Not Expect Too Much From the End of the World* by Radu Jude and *Red Rooms* by Pascal Plante are commendable exceptions. These films delve into the darker motivations behind female characters’ online behaviours, moving beyond the shallow portrayal of Instagram obsessions to confront the roots of their radicalisation.
Challenging Stereotypes in Cinema
Kristoffer Borgli’s *The Drama* has sparked significant discussion regarding its casting choices and thematic focus. Featuring Zendaya and Robert Pattinson as a couple grappling with the aftermath of a planned school shooting, the film has faced criticism for its portrayal of a black female character who contemplates violence—a narrative typically dominated by white male figures. Critics argue that Borgli fails to adequately explore the racial implications of Emma’s actions, instead opting for a superficial aesthetic interpretation of far-right radicalisation.
In contrast, *Red Rooms* presents a compelling story of Kelly-Anne—a hacker consumed by true crime who navigates the chaos of her nihilistic obsessions. Her journey into extremism, while not rooted in a desire for violence, showcases the self-destructive tendencies that can accompany online radicalisation.
Meanwhile, Angela from *Do Not Expect Too Much From the End of the World* epitomises the ironic, controversy-driven influencer culture. As a production assistant in Bucharest, she channels her frustrations into creating content that echoes the misogynistic rants of figures like Andrew Tate, highlighting the allure of online notoriety.
The Call for Broader Representation
The limited representation of women’s radicalisation in film begs the question: why has the media largely overlooked this phenomenon? Lois Shearing’s book, *Pink-Pilled: Women and the Far Right*, posits that societal perceptions of women as inherently nurturing and caring contribute to this blind spot. This notion manifests in how male characters are often afforded empathy and understanding as they escape extremist ideologies, while their female counterparts are met with scorn.
Emma, Kelly-Anne, and Angela challenge traditional narratives of femininity. By preferring the isolation of digital spaces to real-world connections, these characters reveal a darker side of female engagement with extremism that remains largely unacknowledged by filmmakers.
Why it Matters
Addressing the underrepresentation of female radicalisation in film is crucial, not only for enhancing societal understanding of these complex issues but also for fostering a more nuanced discourse around women’s roles in extremist movements. As we move towards a more comprehensive portrayal of radicalisation, it’s imperative that we acknowledge and examine the experiences of all individuals, regardless of gender, who find themselves ensnared in the web of online extremism. The stories of women like Emma, Kelly-Anne, and Angela are not just anomalies; they are critical narratives that deserve to be told.
