每個人心中都有一個關於「家」的答案，但很少有人願意為了尋找那個答案，輾轉搭上飛機、高鐵與渡輪，一程接著一程，抵達一座與出發地截然不同的島嶼，然後留下來。
本創作計畫以紀錄片形式，記錄香港女性「小米」因婚姻而落腳蘭嶼（Pongso no Tao）的生命歷程。她離開了那座以速度與效率定義一切的城市，來到一座與海洋共同呼吸、依天候而行的小島，與達悟族丈夫大熊一同生活、養動物、學農耕、籌建民宿。影片不為她的選擇給出結論，而是以長時間的陪伴與觀察，細膩捕捉她在跨文化環境中適應、掙扎與逐漸落地的真實過程。
蘭嶼，達悟族語「Pongso no Tao」，意為「人之島」。這座太平洋上的島嶼以飛魚文化與傳統地下屋聞名，生活節奏緩慢，居民依循自然的韻律生息。然而，蘭嶼同時也承受著現代社會帶來的多重壓力：觀光化所引發的文化衝突、物資匱乏與醫療資源不足、青壯年人口持續外流，以及核廢料儲存場的歷史遺留問題。在這樣一個美麗而脆弱的地方，小米選擇了留下來。
香港與蘭嶼，是兩種幾乎截然相反的生活想像。一個以速度、秩序與高密度的城市運作著稱，一個以緩慢、隨性與人情的厚度回應生命。小米在這兩種截然不同的生命節奏之間尋找自己的位置，而這個尋找的過程，正是本片最想記錄的事。
在拍攝手法上，影片以觀察模式為基底，以不介入的姿態貼近小米的日常。同時融入參與模式，讓筆者以提問者的身份現身，與小米展開真實的對話與探索。詩意模式則滲透於影片的整體結構，賦予影像超越紀錄本身的情感與象徵意涵。在關鍵的敘事節點上，亦借助闡述模式的字卡手法，以簡潔的文字補充難以透過影像呈現的時間脈絡與事實資訊。四種模式彼此交織、相互補足，共同支撐起整部作品的敘事結構。
透過小米的故事，本片希望呈現的不只是一個移居者的個人經歷，而是一個關於「家」的普遍命題——家是一個地點，還是一種選擇？是出生時被給予的，還是在某個陌生的地方，用時間與承擔慢慢培養而成的存在？這些問題，沒有標準答案。但或許，小米的故事可以讓更多人願意停下來，認真問一問自己。

Everyone carries their own answer to the question of "home" — yet very few are willing to pursue it the way Xiao Mi did: boarding a plane, then a high-speed train, then a ferry, one leg of the journey after another, until arriving at an island that could not be more different from the city she left behind — and then choosing to stay.
This creative project documents the life of Xiao Mi, a woman from Hong Kong who came to Pongso no Tao (Orchid Island) through marriage. She left behind a city defined by speed and efficiency, and arrived on a small island that breathes with the ocean and moves according to the weather — where she builds a life alongside her Tao husband Da Xiong, raising animals, learning to farm, and slowly working toward opening a guesthouse. The film does not seek to pass judgment on her choices. Instead, through long-term companionship and observation, it gently traces the real and uneven process of adapting, struggling, and gradually finding ground in a place that was not hers to begin with.
Pongso no Tao — "Island of People" in the Tao language — is an island in the Pacific Ocean known for its flying fish culture and traditional underground houses, where life moves slowly and residents follow the rhythm of nature. Yet the island also carries the weight of pressures brought by the modern world: cultural tensions from growing tourism, scarcity of resources and medical care, the steady outflow of its younger generations, and the unresolved legacy of a nuclear waste storage site. In a place both beautiful and fragile, Xiao Mi chose to stay.
Hong Kong and Pongso no Tao represent two almost opposite ways of imagining a life. One is defined by speed, order, and the relentless momentum of a dense metropolis. The other responds to life with slowness, ease, and the quiet weight of human warmth. Xiao Mi moves between these two rhythms, searching for a place that feels like her own — and it is this search that the film most wishes to record.
In terms of approach, the film is grounded in the observational mode, staying close to Xiao Mi's daily life without intervening. It also draws on the participatory mode, as the filmmaker appears on screen as a questioner, entering into genuine conversation and mutual exploration with its subject. The poetic mode runs through the film's overall structure, lending the footage an emotional and symbolic resonance that reaches beyond documentation alone. At key narrative moments, the expository mode appears in the form of title cards — quiet lines of white text on black — filling in the timeline and factual details that images alone cannot carry. These four modes work in concert, each doing what the others cannot, together holding the film's story in place.
Through Xiao Mi's story, this film hopes to offer more than a portrait of one woman's migration. It reaches toward a question that belongs to everyone: Is home a place, or a choice? Is it something given to us at birth, or something we slowly grow — in a strange place, through time and through staying? There are no fixed answers. But perhaps Xiao Mi's story can make more people willing to pause, and ask themselves honestly.

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