The filmmaker doesn't have any substantial prior credentials so tough to get an idea of what kinda tone it will strike, though she is a woman if that's significant. SXSW tends to be a very left-skewing festival that doesn't accept right-wing/apologist trash so I won't write it off yet.
EDIT: Most early reviews have praised it apparently.
There was a Red Pill documentary by a woman that covered MGTOW and incels but she gave away her one-sided view by giving more airtime and sympathy to these men versus the liberals or progressives, and making this known beforehand that her intentions were to show their side mainly.
From reviews, this doesn't sound as bad as that.
https://aiptcomics.com/2020/03/21/sxsw-at-home-tfw-no-gf-review/ (Nathaniel Muir)
By letting her four subjects narrate the film, there is no opposing viewpoint. The difficulty lies in the stereotypical attitudes of the self described NEETs (Not in Education, Employment, or Training). They are pseudo philosophers who repeat the standard edge lord lines ("Guns don't kill people. Middle school psychiatrists do.") Listening to them is frustrating.
This is where Moyer's excellent direction comes to play. What is at first annoying and sad becomes enlightening, pitiful, and at times, scary. The more the men talk, the more they reveal about themselves. For all their talk about being in on a joke no one else gets, they realize their lives can be better. By letting them tell their stories, Moyer succeeds in making the men interesting.
https://glidemagazine.com/241698/tfw-no-gf-review/ (James Roberts)
Moyer follows a group of four young men who each tell variations of the same story. They grew up isolated, they couldn't make connections with other people, they dropped out of school, their prospects are few, they are crushed under the weight of small town mediocrity. It's not exactly a new phenomenon, of course. These are the conditions that have led to the development of a counter culture for time immemorial.
In the modern era, however, there's a distinct dystopic feel to the growing rage that would have, just a few decades ago, formerly led to the rise of punk rock and metal scenes. Exacerbating these conditions today is the disconnect of modern living.
Instead of clubs where the disaffected can meet and vent to the cacophonous sounds of whatever their local punk scene had to offer, they gather online, under a cloak of anonymity, pushing themselves and each other to be more and more incendiary just because they can.
What grows throughout Moyer's look inside this subculture is the idea that something is implicitly wrong. For the men she follows, we can lay much of the blame on them. They drink too much, they don't go outside and spend their whole lives online, they push themselves out of bounds of normal society. But the question lingers: why did they do this?
Something along the way failed them, even if they themselves play a part in their downfall. Industries that once supported their families collapsed; the housing market put the American Dream too far out of reach; the education system wasn't built to sustain or support them. These are a group of young men who watched as the promises of their youth evaporated into mist, leaving them without much to grab onto.
...
TFW No GF offers an interesting sociological study on the rise of the disaffected male in modern society. In another, it shows us how the collapse of traditional social structures and safety nets have created conditions ripe for despair.
https://thespool.net/festivals/2020/03/sxsw-tfw-no-gf-review-documentary-incel/ (Douglas Laman)
Director
Alex Lee Moyer's doc is a stripped-down exploration of these dudes, one that shrinks down to the focus to just extended interviews with the central subjects. No interviews are to be found with their relatives, academic experts or anyone else. These five men see themselves as so isolated from American society that they can only turn to online trollery. As such, Moyer structures
TFW No GF to reflect that insular worldview. It's one of a number of subtle touches meant to place the viewer right into the mindset of people like Kantbot or Charles.
Unfortunately, going this direction has its fair share of limitations. Chief among those drawbacks is that the perspectives of these five figures just aren't interesting enough to function as the sole focus of a feature-length movie. Once you hear one of these guys talk for a prolonged period of time, you've basically heard them all. Rambling posing as faux-intellectualism, blatant sexism, the occasional violent comment like expressing sympathy for mass shooters. You could go into any random Twitter thread or message board and find this sort of dialogue.
It's not exactly a revelatory development that this kind of worldview runs rampant on the Internet. Meanwhile, the explorations of how loneliness & depression inform their actions little more than surface-level.