Recovering from a suicide attempt in a Cape Breton hospital, Star (Sarah Walker), a neurodiverse teen, is drawn into the orbit of An (Ziyin Zheng), a genderqueer volunteer. Despite their disparate backgrounds (An has recently arrived from Shanghai), the pair operate on identical idiosyncratic frequencies, fortifying their bond through a flurry of text messages and unguarded declarations. After disclosing her aspiration of becoming a trophy wife to An, Star incants, “You’re sinning… making me evil.”
In reality, there’s nothing sinister afoot in Ashley McKenzie’s (Werewolf, 2016) extraordinary sophomore feature. Rather, it’s a disarmingly open-hearted, formally exhilarating ode to a fairy tale friendship. A heady mix of unvarnished-yet-eloquent dialogue, transportive electronic compositions by Yu Su and Cecile Believe, and visual flourishes that meld social media, animation, and VR, the film sees McKenzie adhering to her social realist principles while exploring a more expansive, sensorially rich brand of cinema. Unfolding in society’s margins, Queens of the Qing Dynasty burns as incandescently as its two stars.
Q&A Oct 5 & Oct 7
Sarah Walker, Ziyin Zheng, Wendy Wishart, Jana Reddick, Yao Xue, Cherlena Brake
Canada
2022
In English, Mandarin, and Russian with English subtitles
Self Harm
Book Tickets
Missing VIFF? Check out what's playing at the VIFF Centre
Hockney
An engaging, insightful and inspiring film portrait of the late great British and California artist. He’s one of the most accessible figurative painters of the last half century, but look closer, there’s much more to David Hockney than meets the eye.
Peter Asher: Everywhere Man
A chart topping pop star as one half of Peter and Gordon, Peter Asher was brother to Jane, brother in law to Paul McCartney, ran the Beatles' Apple, produced and managed James Taylor, Linda Ronstadt, and 10,000 Maniacs, to name just a few. He did it all.
The Crying Game
Notwithstanding its famous twist, Neil Jordan's moody thriller works differently on a second viewing, and hits different in 2026, with its rich and "problematic" stew of identity politics, love, violence and desire.
Romería
An orphan from a young age, 18-year-old Marina intends to pursue a university scholarship. The application, however, requires the signatures of her paternal grandparents, compelling her to embark on a pilgrimage and seek out the family she has never met.
Credits
Producer
Ashley McKenzie, Britt Kerr, Nelson MacDonald
Screenwriter
Ashley McKenzie
Cinematography
Scott Moore
Editor
Ashley McKenzie, Scott Moore
Production Design
Michael Pierson
Original Music
Yu Su, Cecile Believe
Director
Ashley McKenzie
Ashley McKenzie (she/they) is a filmmaker based in Unama’ki (Cape Breton Island). Her debut feature Werewolf (2016) won the Rogers Best Canadian Film Award from the Toronto Film Critics Association in 2017. Film Comment called Werewolf “an austere, marvelously focused debut feature,” while The New Yorker named it to their Best Movies of 2018 list. Ashley’s films have screened at the Berlinale, Toronto International Film Festival, Maryland Film Festival, and Sydney Film Festival, and have been curated by the Criterion Channel, MUBI, and Anthology Film Archives.
Filmography: Werewolf (2016)