“Establishing carefully how the volatile and spectral subject queers the screen, allowing for complex encounters and mobilities, this elegantly written essay nevertheless concludes that Treut’s 2009 film does not entirely escape a Western gaze at the Oriental or queer other. Finally, the article turns to a different kind of screen, the ubiquitous virtual meeting platform, as a metaphor that might open up different types of transnational and transcultural exchange acknowledging ‘unintentionality, speechlessness, and disconnection as they arise.”