This paper studies Hou Hsiao-hsien's feminine turn in Café Lumière (2003) through the filter of travel. By way of analyzing the train/tram, female characters, and history in the film, the paper traces how Hou's contact with a foreign culture brings forth an innovative imagination of female characters different from that of his earlier works set in urban Taiwan. The experience enables Hou to characterize the city as a non-personal matrix, folding everyday events into ceaseless emergence, contingency and becoming. The first part of the paper illustrates the dynamic of entrapment and escape in Hou's contemporary urban films. The second part posits Hou's signatural train imagery in relation to the city, travel and film history and discusses its transformation in Café Lumière. While the third part highlights the film's unique deployment of a constellation of females, the final part adopts Gilles Deleuze's image philosophy to catalyze a crystal-image that condenses and reflects multiple sheets of female/feminine experiences in everyday city life.