「酷兒華語語系未來主義」這個新興概念提供「華語語系」研究介入「酷兒未來」議題的機會。本文則藉著分析電影《大佛普拉斯》，試圖鼓勵臺灣研究介入這種未來主義的論述舞臺。片中庶民角色宛如本土歷史活化石「羅漢腳」，同時體現三種落差：中產異性戀男人與羅漢腳的情欲落差、國語使用者與臺語使用者之間的語言落差、手機使用者與科技邊緣人之間的數位落差。這些落差，未必意味這部片無法達到未來主義的預設標準，反而揭發所謂標準的侷限。這部片值得納入酷兒研究，並不是因為它是「酷兒電影」或「同志電影」，也不是因為羅漢腳等於同性戀者，而是因為它暴露出酷兒研究比較少關注的生命樣態：傾向社群（公）而不傾向個人主義（私）的羅漢腳。

In response to the progressive transformations of queer theory in theUS, this study proposes the concept of queer sinofuturisms, which is moregeopolitically relevant to Taiwanese studies than other emerging queerdiscourses. Investigating into the acclaimed Taiwanese film, The Great Buddha+,this study suggests that the deprived underclass men in the film are neitherhomosexual nor heterosexual subjects, but subjects similar to the “lô-hàn-kha-á”’figures, in Taiwanese history known for their proletariat male-bonding as wellas their lack of access to women. Despite their sexual, lingual, and technicaldisadvantages being of the “lô-hàn-kha-á” figures, however, they demonstratethe possibilities of embodying not individualism but communitarianism, whosevalues which have less often attracted attention in queer studies.