Eighty years ago, Weng Nao, a Taiwanese young man wrote essays and novels, documenting his life in Koenji, Tokyo. He dies on the eve of the Pacific War, and his death remains a mystery. Eighty years later, the directors come to Koenji to look for the forgotten truth.

Sculptor Tu-shui Huang (1895-1930) was way ahead of his time, combining traditional Chinese themes with Western influences that he learned while studying at the art academy in Tokyo. This earned him a reputation as the “founder of modern Taiwanese sculpture,” but he also drew criticism.

「去年，火车经过你家时，我拍了这张照片，那时的你在做什么呢？」带着一年前在火车上拍摄到的房子照片，导演来到同样的地点，一一寻访被摄者，记不记得去年的此时在做什么。答案通常是否定的，但一年之间，同样的座标定位，事物的样貌却改变了，有人离开、有人健康不复。记忆随铁路的风景一路绵延，照片把时间停留在影像上，尘封在照片上的记忆，也在影像的翻飞中浮现。 有别于前作《回程列车》由照片构成，述说照片自己的故事，导演黄邦铨这次选择用影像来述说时间的故事。然而时间稍纵即逝，看到的那一瞬间，那一瞬间便已过去。整部片就像为逝去的瞬间哀悼，结合底片、录影与卫星定位和CG技术，将记忆显影。最后一个镜头，当光线透过镜相打在底片上，负片显影慢慢转成正片显影，透过林强的配乐，固定了回忆的瞬间。影片保留触动人心的温暖，更重新挖掘、定义时间的速率，拓展影像美学感受，获得2019年台北电影奖百万首奖。