Bruce LaBruce’s The Misandrists (2017) is a satirical, campy exploration of radical lesbian separatism that simultaneously celebrates and critiques feminist ideologies. Set in a fictionalized "Ger(wo)many," the film follows a cell of the Female Liberation Army (FLA), a goddess-worshipping commune led by the charismatic "Big Mother". While the film is wrapped in a "dirty eye" aesthetic typical of LaBruce's "queercore" roots, it delves into complex questions regarding gender essentialism, trans-inclusion, and the cyclical nature of oppression. The Satirical Lens of Radical Separatism
A trans enlistee within the FLA forces the group to broaden their narrow "essentialist praxis". The Misandrists (2017)
The film uses high-fantasy and camp to spoof second-wave feminist idioms and lesbian-separatist fantasies. The FLA lives in an isolated villa, viewing men as the "cops of the world" rather than mere humans. By exaggerating these tropes, LaBruce creates what reviewers from 4Columns describe as a "low-budget, high-fantasy tale" that burlesques radical rhetoric while taking its underlying motivations seriously. Excavating the "TURF" of Gender Essentialism Bruce LaBruce’s The Misandrists (2017) is a satirical,
LaBruce uses the film as a "plea for female solidarity" that transcends biological determinism, advocating for a feminism inclusive of all women regardless of their gender assigned at birth. The Threat of the "Oppressed Becoming Oppressor" The Satirical Lens of Radical Separatism A trans
The narrative challenges a movement that defines "woman" solely by anatomy.
While some reviewers from Film Threat argue the film contains "more shock than substance," others praise it for using a salacious premise to tackle "big, knotty questions" about patriarchy and power.
Ultimately, The Misandrists functions as both a salute to the kinetic power of collective action and a warning against the narrowness of exclusionary politics. It remains a polarizing entry in LaBruce’s filmography, utilizing a "dread carnival" aesthetic to force audiences to confront the messy intersection of gender, revolution, and identity. 'The Misandrists' Review - Santa Fe Reporter