Moyer is deeply immersed in their world, probably more so than any other documentarian who has attempted to capture the subculture. Also absent are interviews with talking heads or cultural critics to shed light on the factors at play that have produced incel culture, with Moyer instead using the collage of tweets and definitions of internet slang to provide the viewer with some context on their world. He later claimed it was a joke, a contention the film accepts basically without question.
Moyer says that during filming, she never once considered the possibility that her subjects posed any danger to society, dismissing their violent threats as merely ironic.
In , he was sentenced to seven years of probation after pleading guilty to injury to a child after having sex with an underage girl, a plea that required him to register as a sex offender. While acknowledging that Wilson helped secure her access to some of her sources, Moyer downplays his involvement with the film.
And I will accept money from Cody Wilson for this project, whether I agree with any of his personal decisions or not. TFW No GF accepts, basically without question, the version of events put forth by its subjects: That they are the victims of a cruel, unfeeling society that has cast them out for what reason also goes relatively unexplored.
In so doing, it does offer access to a subculture that is openly hostile to outsiders and rarely gets much attention outside blood-soaked headlines, but at what cost to the overall social good is an open question, as is the agenda of the filmmaker for offering such an empathetic view of a much-maligned community with little context. The nebulous distinction between word and action, between earnest hatred of women and minorities and play-acting for the lulz, is not one that TFW No GF is particularly interested in exploring.
Those celebrating lockdown took an ironic glee in the fact that single women in particular would be stopped from having casual sex. For these incels, the spite that drives the movement froths and shudders just as it had before we were all forced inside.
The Left tends to have a difficult time talking about incels. The often-reactionary rhetoric that can tend to real violence means that the subculture more broadly is readily dismissed rather than constructively engaged with.
Despite this, or perhaps because of it, the film gains close access to its subject matter. Viddy and Charels are brothers who have been caught up in a national news story after Charels posted a photo of himself posing with a gun in the run-up to the release of the Joker movie. Sean is a shy and soft-spoken bodybuilder who lives with his mom in a cramped apartment.
Kyle pours his heart out in a cowboy hat and an all-denim outfit. We follow them on walks through empty suburban streets and see inside the bedrooms where they spend most of their time, playing video games, trolling the internet, and dealing with lengthy depressive episodes. The film also shows us the larger world they inhabit: dramatic scenes of Viddy and Charels shooting assault rifles in the wintry backwoods of the Pacific Northwest, a drone shot of Sean wasting time in a mulchy neighborhood park, Kyle strutting past live-in motels around the outskirts of El Paso, Texas, solemnly smoking a cigarette while a mariachi band plays in front of him.
Rather than focus on the most notorious aspects of incel life, Moyer looks toward some of the more intimate and altogether less angry parts of the incel world, seeking to understand rather than to cast out. If you want to talk about a subculture, talking about its dark sides and limitations in a serious way is more helpful than pretending everything is fine. There is so much misinformation and heightened emotions — the kind that caused authorities across the country to go into high alert because of a comic-book movie — around this subculture that any real conversation about incels is nearly impossible.
This article is more than 1 year old. Jessa Crispin. Why do we only care about incels when they are men? Arwa Mahdawi. Read more. Topics Film Opinion Gender Documentary films comment.
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