Star, a suicidal teen now too old for foster care, develops a candid rapport with An, a student from Shanghai who is assigned to watch her while she is in hospital. A nightly exchange of secrets, text messages and possessions quickly expands the boundaries of their relationship, altering their inner chemistry.
　　Gilded by a soundscape that interweaves work by emerging and pioneering electronic musicians, Queens of the Qing Dynasty is an offbeat ode to neurodiversity and genderqueer individuals who refuse to nform. Director Ashley McKenzie’s blend of formalism and gritty realism does not fail to surprise and treats the audience to flashes of visual and nceptual poetry. Her cast is entirely posed of first-time actors who nvincingly nvey how unique every individual is, both in how they see the world and how they relate to others. Ziyin Zheng in the role of An graciously embodies a mix of idiosyncrasy and frankness that makes them an ideal nfidante for Star (Sarah Walker). They have what it takes to be on the receiving end of the scrutinising gaze of Star, who sees through nventions and never ceases to be amazed at life’s bewildering events. Veering on slapstick, Walker’s performance will not go unnoticed.