<Queen Kong> is an inverted version of <King Kong> in terms of gender politics. A feminist film director Luce Habit, with Ray Fay a marginal male figure, goes to Lazanga on a ship named The Liberated Ladies representative of the emancipation of women. Crews in sensual clothes sing a song cherishing Germaine Greer the author of Female Eunuch. In the 1970s, Greer advocated the sexual freedom of women for the female liberation. She led the movement of burning bra, a commodity that has the implication of subjugating women to male control. Ray is devoted to Queen Kong worshipped by the villagers of Lazanga, a pre-industrialized space like Amazon. Queen Kong catches and protects Ray to fulfill her desire, which upsets the male dominant relationship in <King Kong>. In keeping track of Ray, Queen Kong is caught by Habit, and is brought to London. Queen Kong in a bra and panty made of chain is displayed in public. Queen Kong as a monster symbolizes colored people outside normality. Feeling jealousy of Ray led by Habit, Kong tears off the chain and frees herself, which implies the realization of burning bra. Ray chooses Queen Kong abundant with the Otherness instead of Habit. Queen Kong climbs on Big Ben, which is a blasphemy of the British heritage and thus the conventional value systems aligned with the male superiority. Ray gives a feminist speech to defend Queen Kong representative of historically persecuted women. Awakened by Ray's message representing the contemporary feminist issues, women, including notably prostitutes, make a concerted effort to save Queen Kong. In that Queen Kong as the agent of feminism is trapped in the image of abnormality and prostitutes engage in the feminist rally, there seems to be an anti-feminist intention to debase feminism. In the long run, Queen Kong peacefully returns to Lazanga, which declares the victory of feminist values. Although superficially advocative of feminism, <Queen Kong> undeniably satirizes and thus trivializes feminism ambivalently.