Genre-flipping '復讐 porn' 悲劇 首相s at Berlinale film festival
By James Imam and Hanna Rantala
BERLIN, Feb 24 (Reuters) - When Jules, a cross-dressing 星／主役にする of London's queer scene, is 残酷に attacked by a 凶漢 with something to hide, he concocts an (a)手の込んだ／(v)詳述する 復讐 worthy of Shakespeare: he seduces his hypermasculine assaulter and films them having sex.
An 激しい 悲劇 by Sam H. Freeman and Ng Choon Ping, "Femme" 調査するs the 鎮圧するing 影響 of 伝統的な 視野s of masculinity on two men's lives, as Jules 計画（する）s "復讐 porn" - the practice of 分配するing sexually explicit 構成要素 without the 支配する's 同意.
Jules, a drag queen played by Nathan Stewart-Jarrett, thus 捜し出すs to turn the （米）棚上げする／（英）提議するs on Preston, his muscular 加害者 who 補償するs for his repressed sexuality with manly 雑談（する） and 爆発s of violent 激怒（する）.
"It's a big 支配する. It's big what happens to Jules," Freeman told Reuters of the film, which 首相d at the Berlinale film festival last Sunday. "We were very 利益／興味d in the archetype of the 肉親，親類d of avenging anti-hero. I think queer characters often aren't 許すd the 機関 to play that 役割."
The attack turns Jules into a 爆撃する of his former extrovert self, but a chance 遭遇（する） with Preston in a gay sauna 申し込む／申し出s a (n)艦隊／(a)素早いing 適切な時期 for vengeance.
The 二人組's 関係 begins with a 一連の steamy yet, 最初, 厳密に unemotional rendezvous in the 支援する of cars and 負かす／撃墜する 支援する streets, before Preston 徐々に abandons himself to the 十分な 力／強力にする of Jules' artful allure.
But when the besotted Preston discovers Jules' 計画（する） to out him with a sex tape, he flips into an uncontrollable 激怒（する）, 速く 製図／抽選 the film to a 悲劇の 最高潮.
For George MacKay, playing the 役割 of Preston was a cha nce to tap into 現在のs in his own personality.
"In myself there are elements of masculinity - which are presently 存在 肉親，親類d of recalibrated socially - that I was really 利益／興味d in 調査するing through my work," said MacKay. "And Preston was a very sort of fertile ground to 調査する those 主題s of masculinity."
While the film will 特に 控訴，上告 to LGBTQ+ テレビ視聴者s, its moving human story and racy 陰謀（を企てる） has something for everyone, Freeman said.
"This is a film that is for queer audiences, but it's also a film for all audiences," he said. "The queer is a label that we proudly attach to it, but it's not all that it is." (報告（する）／憶測ing by Hanna Rantala, 令状ing by James Imam; Editing by Rosalba O'Brien)
