This article makes the case that Wei Te-Sheng's film Cape No. 7. presents an alternative to traditional history-writing through its representation of time and space. Both the film's formal aspect and narrative structure diverge from the traditional approach of presenting history in a linear, progressive, and goal-orientated way. In analyzing the unique presentation of history in Cape No. 7, the article draws upon the discussion of time in postmodern theory and "place" in humanistic geography. The first part of the article focuses on the Japanese teacher's nostalgic yet uncanny return, which represents a Japanese memory of Taiwan that has often been neglected in the postcolonial discourses. The second part of the article explores the popular theme of "return to the countryside and native home" in recent Taiwan cinema. Cape No. 7 employs the trope of small town in postwar Taiwan cinema, more specifically, the utopian imagery from the 1960s' "healthy realist film," in order to alleviate Taiwanese audience' anxiety toward global capitalism. Through these discussions of nostalgia and homecoming, the article attempts to explore ways in which the film revises the nation's grand historical narrative.