The film Low Rider, the much-anticipated second feature from director Campbell X, follows Quinn, a London-based millennial who travels to Cape Town after the death of her mother to search for the father she never knew. What begins as a practical errand turns into a journey that blends late-night clubs, intimate campfires and chance encounters, most notably with the charming and complex Harley, played by Thishiwe Ziqubu. At the centre of the film is actress Emma McDonald‘s portrayal of a young person in flux, navigating identity and belonging while grappling with family history. The story stitches together personal discovery and place, making the South African landscape an active participant in the narrative rather than a simple backdrop.
To mark the screening of Low Rider at BFI Flare, the London LGBTQIA+ Film Festival, DIVA spoke with Emma McDonald and Thishiwe Ziqubu about the film’s themes, the director’s approach and why visibility matters. Both performers emphasised that the project is less about labels and more about human journeys: a portrait of two characters who travel together and, in doing so, begin to stitch themselves back together. The conversations they shared reveal how storytelling, when centred on queer lives and created by people from those communities, can act as a form of repair and recognition for audiences who rarely see themselves reflected so fully on screen.
What drew them to the characters
Emma described Quinn as a person in a state of restless searching, someone whose life feels messy and uncertain, which made the role irresistible. She was struck by Campbell X‘s clear, passionate vision and the solidity of the film’s world-building, which invited her to take creative risks. Thishiwe explained that Harley’s appeal lay in his layered contradictions: a gentle presence navigating a tough environment, carrying hope while moving through his own process of recovery. For Thishiwe, the chemistry between Quinn and Harley is an odyssey that is only partly romantic and far more about mutual growth and self-discovery. Both actors responded to characters who are flawed, tender and alive, and to a director who encourages exploration.
Quinn’s restlessness and Harley’s repair
In discussing Quinn, Emma emphasised the importance of showing a character who is authentically searching: not merely drifting, but actively reconciling past and present in order to shape a future. For Thishiwe, playing Harley — a trans man in the midst of healing — was both personally meaningful and professionally formative. He highlighted how the performance allowed for a redefinition of masculinity, introducing a soft masculinity that challenges aggressive or stereotyped forms of male identity. The role offered him a mirror that reflected new possibilities for how trans men might exist in film: gentle, spiritual, brave and open to change.
Representation, place and cultural significance
Both performers argued that centring queer lives onscreen does more than diversify storylines: it reshapes how audiences understand belonging and history. Emma noted that when queer characters are written and performed by people from those communities, the result expands which lives are considered central and worthy of attention. Thishiwe was blunt about the stakes: in a moment when visibility often feels threatened, seeing trans bodies depicted with nuance offers a kind of public affirmation. He said that for South African viewers in particular, Low Rider signals that transness and queerness are not imported concepts but lived realities rooted in specific cultures and geographies.
Why South African setting matters
By locating the narrative in the Western Cape, the film allows questions of diaspora, identity and family to play out against a landscape shaped by local histories. The setting lets viewers witness how queer lives intersect with community, memory and place in ways that feel authentic rather than borrowed. Thishiwe recounted messages from trans people in South Africa who felt moved simply by promotional stills — a reminder that representation can be immediate and deeply emotional. The film’s presence on the festival circuit serves both to correct misconceptions and to give dignity to stories that have long been marginalised.
Collaboration, process and what audiences might feel
On set, both actors praised Campbell X for a collaborative, nurturing approach that balanced structure with creative freedom. Emma spoke about the joint work with cinematographer Robo Wilson and the way the production turned locations into expressive elements of the story. Thishiwe reflected on the personal resonance of playing a trans man as a trans actor, describing the experience as healing and transformative, particularly given how the role reframed masculinity for him. The shoot, he said, was a place where spirituality and craft were welcomed into the performance process, producing a performance rooted in lived truth.
Both performers hope audiences leave Low Rider feeling seen, moved and provoked to reflect on their own journeys. They want viewers to recognise pieces of themselves in Quinn and Harley and to carry away the film’s message that healing and belonging are often found in unexpected company. Low Rider premieres at BFI Flare on 21 March and the festival runs 18 – 29 March at BFI Southbank. For younger viewers, there are discounted ticket options: aged 16–25, you can access reduced-price tickets with a free BFI 25 and Under account. Finally, fans of queer media and supporters of community outlets may be interested to know that DIVA now operates as a charity, the DIVA Charitable Trust, continuing its decades-long work documenting and championing LGBTQIA+ lives.