
Amid the 1999 Taiwanese plague that turns victims into insect‑like psychotics, two strangers live in a dilapidated building, one above the other. Leaking pipes threaten the woman’s supplies; a plumber’s mishap punches a hole through the floor, linking her apartment to the man’s. Forced together, they seek connection in a world collapsing around them.
Does The Hole have end credit scenes?
No!
The Hole does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of The Hole, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.
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Read the complete plot summary of The Hole, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Just before the turn of the new millennium, a strange disease sweeps through Taiwan, forcing people to crawl along floors and hunt for dark corners as rain falls without end. In a rundown apartment building, Hsiao Kang, Lee Kang-sheng, runs a small food shop that draws few customers and keeps a careful distance from the outside world.
One day, a plumber, Tong Hsiang-Chu, arrives to inspect the pipes and ends up drilling a small hole into the floor. The hole reveals the ceiling of the woman downstairs, Yang Kuei-mei, who has turned her apartment into a dim fortress, stockpiling toilet paper as she rides out the flood of drips and fear. The intrusion irks her, and she confronts Hsiao Kang at his shop, their voices leaking through the shared gap between floors.
Yet the hole remains, and the two tenants grow accustomed to each other’s presence in this claustrophobic space. The woman’s insistence and the environmental smell she manipulates with sprays become a personal flare of irritation for Hsiao Kang, whose alarm clock’s blaring wakes her at odd hours. Despite the friction, a curious connection begins to form, born out of proximity and mutual exasperation rather than affection.
A knock at the door interrupts the standoff, but Hsiao Kang does not answer. He chooses instead to lean closer to the hole, extending a leg into the narrow void as if reaching out across the divide. The illness eventually touches the woman as well, and she crawls into her toilet-paper fortress, retreating from the world.
Distress and longing collide in their shared isolation. Hsiao Kang bangs on the floor with a hammer, a desperate rhythm that finally breaks through. The woman emerges from her fort, and he offers her a glass of water through the hole, which she drinks. Then, with a quiet, earnest resolve, he pulls her up through the gap, bridging the distance between them in a literal and emotional sense.
In the end, the two slow dance together, a small, intimate celebration of humanity that persists even as the world remains strange and unsettled. The film lingers in the quiet and the damp, a patient study of connection that survives through contact, care, and the fragile resilience of two people choosing to share life across a floor and a hole.

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