Oneitiscel
Failed Jestermaxxx LDAR Extraordinaire
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Why incel cinema needs to be stopped in 2025
As violence against women rises and the men in power only fan the flames of this dangerous subculture, filmmakers need to step up and work against incel cinema.
In 2024, the year when violence against women was announced to have hit terrorism threat levels and declared as a state of emergency in the UK, I sat in the cinema watching The Beast and felt sick. It was one of the only times I’ve ever considered getting up and walking out. But as the film hit its third act and the tale of this century-spanning, reincarnated connection entered its most modern and recognisable chapter, the plot line of the incel and the inevitable victim felt anxiety-inducing and horrific with no real benefit to it.
The connection between Léa Seydoux and George Mackay’s characters in the movie is complex. It’s billed as a sci-fi romance film, so in some ways, these two figures are tethered together lifetime after lifetime as if they’re meant to be in some way. It’s set up that Seydoux’s character has forever had this lingering feeling that something horrible would one day happen to her. In each lifetime, we see it played out. But in the third, when that thing is being murdered by an incel, predicted by a long lead-in of ominous gothic clues and clips of Mackay’s character doing the classic incel video diaries, complete with lines borrowed directly from those of Elliot Rodger, who shot six students and then himself the same year the movie was made, it became sickening.
What good does having these scenes on screen do for us? Especially in a case like The Beast, where the plotline isn’t really questioned or condemned beyond being another inevitable horror faced by Seydoux’s character. Perhaps more worryingly, the attack is noted as a strange way to tether these two leads together in a quasi-romance that fails to truly critique incel culture beyond mocking gags at Mackay’s caricature of one.
Right now, we’re witnessing a time where Donald Trump is tearing rights away from everyone but straight white men.
We’re witnessing Elon Musk, a man who exists as a king in the eyes of the incel culture of the ‘manverse’, grabbing at more and more power while crushing things like DEI programmes that protect the rights, safety and opportunities of women. As we watch men like this take power and enact terrifying things, it empowers incel communities hungry to see women weakened and vulnerable at the wills of men or inferior to their perceived superiority, and, in doing so, it puts women in danger.
Upon the release of Joker, perhaps the ultimate incel film, there was a lingering sense that the movie was dangerous. James Holmes, dressed in a Joker outfit, shot at a cinema audience in 2012, immediately tethering this character to real-life atrocities. The month Phillips’ film premiered, there were two more attacks of the same nature, with the US military putting out a warning about attacks tied to this character who had become a symbol of this ideology – an unloved and isolated man turning violent against the world that has abandoned him.





