Goodbye, Dragon Inn (2003)

A near-empty Taipei cinema hosts a screening while patrons and workers make their own tentative journeys through it. Tsai Ming-liang's locked-off views and long pauses make footsteps, snacks and awkward proximity unexpectedly funny, then lonely. You do not need to know the martial-arts film on the screen to recognise the desire for company. There is very little plot to chase; the reward lies in exploring a building whose sounds and missed connections gradually become its story.