Experiencing Interruptions?

Everyone Is Leaving, One by One

In a single, unbroken shot inside a train station, people wait, pass through, and leave. Trains arrive and depart, and the rhythm of the everyday continues uninterrupted.

Meanwhile, an audio recording from an intensive care unit gradually emerges, tracing the final moments of a life.

Image and sound unfold in parallel, never meeting.

As one world moves forward, another quietly comes to an end.

  • CHIH HAO SHEN
    Director
  • CHIH HAO SHEN
    Writer
  • MFX Films
    Producer
  • Project Type:
    Documentary, Experimental
  • Runtime:
    10 minutes
  • Completion Date:
    March 31, 2026
  • Country of Origin:
    Taiwan
  • Country of Filming:
    Taiwan
  • Language:
    Chinese - Min Nan
  • Shooting Format:
    Digital
  • Aspect Ratio:
    4:3
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Digital Cinema Package:
    Unavailable
Director Biography - CHIH HAO SHEN

Chih Hao Shen is an animation and documentary filmmaker whose work explores human existence, memory, and time through restrained visual storytelling.

His debut work received recognition from Rhode Island IFF. His short film 10 Seconds was selected by In The Palace, Fantasporto, and Asolo Art Film Festival (2026). His documentary YinYang Sea won the Grand Prix at Asolo Art Film Festival (2026).

His projects have been presented in international industry contexts, including Clermont-Ferrand, Visions du Réel, Cannes Short Film Corner, Short Shorts Film Festival & Asia, and Oberhausen.

Beyond filmmaking, he has worked in visual design and digital product development, including licensed merchandise design for The Lord of the Rings franchise in the Chinese-language market, visual work at the Bologna Children’s Book Fair, and founded and leads a software development company developing animation and visual effects tools within the Apple ecosystem.

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Director Statement

This film began with a moment I could not fully comprehend at the time: witnessing the passing of a loved one for the first time.

In the intensive care unit, language became precise, clinical, and final. Decisions were made in measured tones, while time seemed to lose its usual continuity. I recorded fragments of that experience—not to preserve the event itself, but to hold on to the distance between what was happening and what could be understood.

Rather than returning to the space of death, I chose to look elsewhere. A public place, where movement continues without interruption. People arrive, wait, and leave. Nothing stops.

The film is built on the coexistence of these two realities: one that ends, and one that continues. They do not meet, yet they exist simultaneously.

This work is not about death as an image, but about its absence—how something irreversible can take place without altering the visible world.