At 9:30 pm on June 23, 2021, in front of an old building in central Berlin, an open-air film event was taking place. 1 (Figure 15.1 and Figure 15.2) A digital projector cast the title of the event, Imagining Queer Bandung, onto a film screen installed against the façade of the building.It was in the middle of the COVID-19 pandemic; the audience was seated on foldable chairs in front of the building, consciously keeping some distance from one another. At the front and under the screen stood three people, delivering an opening speech. They all looked Asian, something easily noticeable in a European city. The three speakers announced that night's film programme-a couple of Asian queer films plus a Q&A session with the filmmakers-together with future event plans, including more film screenings in the coming week and a filmmaking workshop and podcasting workshop in a couple of months' time.1 The author would like to thank the Imagining Queer Bandung project team members, including Popo Fan, Ragil Huda, Kit Hung and Sarnt Utamachote, for their great inspiration; 'Queer Asia as Method' organizing team (Victor Fan, Liang Ge and J. Daniel Luther) and the University of Nottingham's ESRC Festival of Social Sciences team for supporting the public events related to this chapter; and Room One Thousand editors (especially Nathan Shui) for their valuable feedback on an earlier version of the chapter and their kind permission for me to include a revised version of the article in this book. A earlier and short version of this chapter was published in the tenth issue of the architectural journal Room One Thousand.