The paper proposes to look at the epistolary voice-over in the movie Cape No.7(2008) as a cinematic arrangement for the director to analyze and potentially rewritethe memory of Taiwan’s colonized past. Accidentally sent, the letter parcel is at oncethe record of a quasi-native informant during the Japanese Occupation and a sign ofsilence—an erased history due to political and cultural reasons. Borrowing the languagesof psychoanalysis and postcolonial theory, I want to answer the questions ofsilence inherent in Cape No.7: Why is it that the letters in the movie are never sent orperhaps can never be sent? What does this lack mean? What is the ethical dimensionof silence? What is it about the epistolary genre that serves to bring out the kind ofsubversive elements in the movie?Careful examinations of the movie suggest that a connection between the cinematicarrangements and the epistolary qualities shared by the eighteenth century epistolarynovels can be established. For one thing, the parallel plots continue to resemble eachother, making it difficult to tell one from the other─a quintessential move employedby epistolary fiction writers in the eighteenth century to blur the boundaries betweenthe letter correspondences. But more importantly, what seems to be lacking in theletters some sixty years ago would soon turn topsy-turvy: the old letters have newaddressees, the unfulfilled love has a new ending, the unresolved history now has newtwists, and etc. In this way, the epistolary voice-over is no longer just a narrative andcinematic ploy; it in fact speaks to a kind of cultural sensitivity in the present thatlongs to uncover the many faces of its repressed past with sophistication.