Weird, brash, and contemplative, Ashley Mackenzie explores an unusual, peculiar relationship with her latest, Queens of the Qing Dynasty, presented at the 2022 Berlin International Film Festival.
As the Encounters section continues to bring fresh daring works from independent and innovative filmmakers, Ashley Mackenzie, falls into those attributes, formally and visually, with her latest film, Queens of the Qing Dynasty. In a distinct 4:3 academy aspect ratio and its refusal to use reverse shot angles between two, Mackenzie displays a unique and disruptive contribution to the cinematic form in her story that covers mental illness, immigration, isolation, and yearning.
Opening in a hospital, we are introduced to Star, or how she introduces herself, “Rats backwards”, who is suffering with ADHD and possibly, much more. She is introduced to An, an international student from Shanghai who watches over her for safety measures in the hospital. The two’s peculiar personalities of unfiltered ideas bring them closer together. Discussions of sex (Star’s asexual, An’s homosexual) shut out the possibility of a cliché relationship, but a tightly knit platonic relationship between the two. Star’s had many multiple hospital visits, but for this one, due to a suicide attempt, struggles with her inner conscious. An, who is in Canada on a work visa, that’s to expire in 24 months, is planning to take the immigration test for citizenship. Star, offers up a polite marriage proposal to keep An a citizen, but declines due to the actual logistics of it all. It’s with this laid out backdrop that keep the film’s uniqueness work as the baseline for Mackenzie’s vision.
With using the academy ratio, almost all of the shots are framed tightly. Almost all the profile shots of each character almost taking up the whole frame, capturing the bizarre world of Star and An. The score also fits into Star’s sensibilities. With an electronic-wave sound genre, not sure what exactly this would fall under, but it creates the tension and atmosphere between the two, whether it be in Star or An’s manic or relax state. The technical approach from Mackenzie was one of the many strong skills she displays. Superimposed images, camera movement, and the negative space used warrants this as an independent-looking film, but its scope examines far deeper meanings and issues.
Star is no doubt the driving force for the film. Her mental condition and history, is perfectly played by Sara Walker, who nails the delivery of each off-putting line, and even her unintentional humorous ones. As Star and An become closer, the bond forms a weird, powerful dynamic duo. There dry humor and support towards each other, is what captivates us, but it’s Mackenzie’s execution that make it all work. The film ultimately takes on the world of mental condition and support with the two emulating a friendship not seen in cinemas. With Mackenzie’s keen observation of the two, she finds a peculiar friendship that emits an idiosyncratic and strong bond.
