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人称“暴力外卖王”的逗逼少年秦零因遭遇异灵袭击，从而加入镇门人，得到了一道神秘的“门”之后，发现这个世界充满了凶险，各式各样的异灵，正邪难辨的镇门人，神秘的盗门者，无数稀奇古怪的生物都开始拼命的找上他，他被迫陷入异灵与镇门 人的阴谋旋涡之中
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 conform. Director Ashley McKenzie’s blend of formalism and gritty realism does not fail to surprise and treats the audience to flashes of visual and conceptual poetry. Her cast is entirely composed of first-time actors who convincingly convey 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 confidante for Star (Sarah Walker). They have what it takes to be on the receiving end of the scrutinising gaze of Star, who sees through conventions and never ceases to be amazed at life’s bewildering events. Veering on slapstick, Walker’s performance will not go unnoticed.
A young woman tries to find her origins after having been abandoned as an infant at a cemetery wrapped in a cloth with satanic symbols, but as she gets closer to answers a malevolent spirit is telling her to leave.