Days Without End (2026)

Trapped in a surreal limbo, a dancer chases paper boats that promise connection—but always drift just out of reach.
 

​​​Director's Statement ​

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In creating this film, I aimed to abstract the experience of being in limbo—something many, especially immigrants, can relate to. Muyu, the choreographer, and I both faced uncertainty while waiting for our green cards, a situation complicated by a growing anti-immigrant narrative that fostered a climate of hostility. Personally, this wait was particularly challenging; my father had recently passed away, and I longed to reconnect with my family in Taiwan, while Muyu was unable to attend her grandmother's funeral during this period. This film reflects a collective struggle of feeling unwelcome and unacknowledged, emphasizing the longing for permission or validation to restart our lives.

Through movement, we sought to convey the mixture of fear, hope, and longing that characterized this period of uncertainty. We aimed to create a universal language that resonates with anyone who has ever felt stuck in their lives. The paper boats represent dreams and opportunities that, while tantalizingly close, often eluded our grasp and highlighted the fragility of our aspirations.

Ultimately, this film invites the audience to reflect on their personal journeys, embracing moments of self-doubt and uncertainty while recognizing the significance of finding solace in our shared experiences. It is my hope that viewers will see their struggles reflected in Muyu's performance and find inspiration in the journey toward belonging and acceptance.