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The title of Tsai Ming-Liang's best-known work, The Hole, has not been translated in any language. In French and in various filmographies it is simply referred to as The Hole. It seems that the concept is difficult to pin down and render in another language. The French word trou, the German Loch or the Italian buco are all more limited in their connotations than the English hole, perhaps because we simultaneously hear its homonym whole and sense the solid weight of \"fullness\" and \"satiety\" being revealed with sudden and unexpected [End Page 78] force. Indeed, for Tsai the hole is not a rupture, the accidental unraveling of spontaneous relations or the decay of organic tissue. Though in the film's intentionally threadbare narrative there is actually a gaping hole connecting the two lead characters' apartments, this is just a starting point, a physically defined location serving as a bizarre tool for observation, communication, and the free flow of water. In Tsai Ming-Liang's films, the hole stands for the immense void surrounding his protagonists, the bleak fulcrum of the aimless rat race that defines the entire urban landscape; the ruthless order of modern life and endured condition of existence. Here the hole represents emptiness and absence, that peculiar and elusive liberty that renders everything volatile and fugitive, bereft of any substance.
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