minor spoilersneed any further proof that tsai ming liang ranks among the most original and provocative filmmakers working anywhere today. see this film. working from slight variations of a theme running through most of his work and the hole represents a study in alienation and loneliness  in this case between a man and woman who are upstairs or downstairs neighbors  and how varied structures (real or psychological) of modernity wall people off from one another. here and the woman (the downstairs neighbor) attempts to endure as her apartment is flooded by a prodigious leak from upstairs. a plumber attempts to locate the source of the problem and then disappears after creating a large hole in the floor. already isolated and desperate (both characters are among the few residents of a housing project who haven not fled in advance of a mysterious and near apocalyptic epidemic). the hole linking the two apartments functions first as yet another in a long line of indignities and but soon begins to take on a significance of near mythic proportions. tsai sense of humor and and sense of cinematic history is displayed with a bit more overtness than usual  as the woman occasional daydreams revolving around her upstairs neighbor are visualized as musical numbers (set to the music of grace chang) which explode from the screen in brief bits of sensualistic and surreal romance and humor  quite reminiscent of the big screen pennies from heaven. and for all of the ennui and alienation on display here and tsai skewering of late 90s pre millennial tensions is funny and absurd and and gives this film a very appealing strageness. the final scene is extraordinary. meanwhile tsai  in typical fashion  subverts most of the usual expectations or preconceptions westerners bring to asian cinema with a nonchalant and casually revealed directness and focusing on both the absurdist tendencies of the human mind and and the most absolute of mundanities. there an utter and nonchalant demystification of almost everything about his characters and sidestepping backstory or most cultural signifiers (which does amplify the isolation of the characters) and making the hole  and his other films  rather disorienting and but also always fascinating and insightful. 
minor spoilersneed any further proof that tsai ming liang ranks among the most original and provocative filmmakers working anywhere today. see this film. working from slight variations of a theme running through most of his work and the hole represents a study in alienation and loneliness  in this case between a man and woman who are upstairs or downstairs neighbors  and how varied structures (real or psychological) of modernity wall people off from one another. here and the woman (the downstairs neighbor) attempts to endure as her apartment is flooded by a prodigious leak from upstairs. a plumber attempts to locate the source of the problem and then disappears after creating a large hole in the floor. already isolated and desperate (both characters are among the few residents of a housing project who haven not fled in advance of a mysterious and near apocalyptic epidemic). the hole linking the two apartments functions first as yet another in a long line of indignities and but soon begins to take on a significance of near mythic proportions. tsai sense of humor and and sense of cinematic history is displayed with a bit more overtness than usual  as the woman occasional daydreams revolving around her upstairs neighbor are visualized as musical numbers (set to the music of grace chang) which explode from the screen in brief bits of sensualistic and surreal romance and humor  quite reminiscent of the big screen pennies from heaven. and for all of the ennui and alienation on display here and tsai skewering of late 90s pre millennial tensions is funny and absurd and and gives this film a very appealing strageness. the final scene is extraordinary. meanwhile tsai  in typical fashion  subverts most of the usual expectations or preconceptions westerners bring to asian cinema with a nonchalant and casually revealed directness and focusing on both the absurdist tendencies of the human mind and and the most absolute of mundanities. there an utter and nonchalant demystification of almost everything about his characters and sidestepping backstory or most cultural signifiers (which does amplify the isolation of the characters) and making the hole  and his other films  rather disorienting and but also always fascinating and insightful. ---------------------------------Answer Question Below----------------------------------

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