The Way Home discusses the impact of cultural shifts on personal and collective identity and the conflicting emotions that people often experience in the post-colonial era. In the movie, the protagonist navigates an abandoned European-style town in China, reflecting on the stark contrast between his utopian childhood imagination of the town and his current disillusionment.

The film was shot in the largest abandoned mall in China, a European-style town built during the height of this imitation wave. It reveals how China‘s embrace of globalization spurred a fascination with Western lifestyles, leading to a wave of European-style architectural imitations in the new millennium. Yet many of these flawed and ephemeral imitations eventually became relics of a bygone era. Grew up in a former French colony town, this film discusses my conflicting emotions of nostalgia and disenchantment in the post-colonial era.

在《归家之途》影像中，主角游走在一个废弃欧式小镇里，独白借用他孩童时期对于小镇的美好想象，讨论后殖民时期人们内心的乡愁。打开国门后，人们将对未来的美好幻想，转化成对西式风格的盲目推崇。这样的推崇在千禧时代集中爆发，涌现了一批仿古的住宅小区和欧洲风情景区建筑。绝大多数的模仿都并不考究，存在形式和比例上的错误。这种欧式建筑昙花一现，成为了过时的时代风景。

本片拍摄于全中国最大的废弃商场，一所建于千禧浪潮的欧式小镇。十几年前，这个西方小镇为人们带去了希望。但当这里彻底荒废，这个昔日承载人们美好幻想的地方，最终成为了一个无法沟通的巨大沉默物。影像的结尾，荒草阻断去路，主角未能走出这个如迷宫般的小镇。当家园荒废，归家的脚步都迈向了虚无，笼罩着小镇的只有乡愁。