Chien Man-chun

Before the family home in Shalun, Taoyuan, was demolished under the Taoyuan Aerotropolis redevelopment project, the director's mother passed away unexpectedly. Yet in her absence, the family's long-fragile order seemed to stabilize, even appearing strangely "happy." This subtle and difficult truth compels the director to repeatedly return to the old house on the verge of disappearance, insisting on bringing back her father and brothers, who are trying to move on. As the boundaries between filming and being filmed blur, differing attitudes toward farewell gradually emerge, and long-suppressed memories begin to seep through. The director is left asking herself: Is this an attempt to preserve memory, or a way of trapping herself in a cycle of loss from which she cannot find closure.​​​

Set in the Taoyuan Aerotropolis expropriation zone, this film traces a home that no longer belongs to us. Before relocation, my mother passed away—her “too late” compelled me to return and document what remains. Through father–daughter dialogue and acts of creation, the film records landscapes on the verge of disappearance, and the fragile traces of “home” that persist in the struggle against erasure.