本文藉由分析《八東病房》、《娘惹滋味》與《我倆沒有明天》三部關注在台外籍移工處境的紀錄與劇情片來探討邊界繁生的複雜意涵。幾部影片的拍攝皆出於對在台外籍移工的深刻關懷與認同，這些作品也在為家務勞工／看護工發聲上扮演日益重要的角色。《八東病房》（2006）為台灣國際勞工組織製作出品的紀錄片；劇情片《娘惹滋味》（2007）由公共電視出品播放，旨在推動多元文化視野，促進外籍配偶融入台灣社會；《我倆沒有明天》（2003）也曾在公共電視播放。這三部影片都將觀眾與外籍移工角色的親密性根植於家庭喻象（family trope），導演善意地將移工比喻為家庭成員，以塑造其溫和可親的形象。透過移工在工作場域裡與台灣人近身接觸的經驗來肯定他們，視覺親密性因此轉化為強化認同移工的重要來源。然而，家庭喻象的複雜性需要經過嚴格的批判性檢視，看似親密的家人影像再現也必須被置入家務勞動／看護工作的內在邏輯，也就是「近似家人，實非親故」（like a family, but not quite）的弔詭情境中來深入探討。本文將說明即便這些影像工作者試圖將移工納為「家庭的一份子」，這些善意的嘗試同時可能捲入由政府的勞工引進機制所操控的複雜邊界管理而與之難分難解。藉由審視這三部影片，我們企圖深究僱用移工與善待移工之間難以消解的緊張關係，釐清對外籍移工日常表現的肯定與國家管制他們所採取的限制性治理兩者間的錯結糾葛。

In this paper we analyze closely three works representative of recent filmic representations about how female foreign laborers are treated in Taiwan: Hospital 8 East Wing (2006), by the Taiwan International Workers Association (TIWA) labor organization, Nyonya's Taste of Life (2007), aired on the Public Television Service (PTS) Channel to promote a multicultural approach to integrating foreign spouses into Taiwanese society, and We Don't Have a Future Together, also aired on PTS (2003). All of the three films are well-meaning endeavors that cast migrants into affable cinematic images by likening them to family members. Meanwhile, the audience is encouraged to identify with the protagonist workers and develop cinematic intimacy with the characters. Our assessment of cinematic representation takes place within a critical analysis of the constitutive logic of domestic/healthcare work, namely the paradox of being “like a family, but not quite”. In spite of the fact that these film makers attempt to include the migrant laborers as “one of the family,” such benign efforts are entangled with complex border management. As a result, in examining these three films we inquire into the unsettled tensions between congenial affirmation of migrant workers and the constrictive governance of migrant labor for the state's regulatory purposes.