The complex historical traditions and realities of the Taiwan region have enabled the generation of drifters in Taiwan films of the Post-Cape Era. They are marked with obvious “historical” and “realistic” scars, which reflect and recognize the crisis of their subjectivity in drifting images. In the face of crisis, rebuilding subjectivity has become a strong demand for drifting individuals and even collectives. But in the process of construction, the subjectivity of the drifter was never clarified, and the result also ended in failure. Behind the failure lies the tragedy of Taiwan society and the reality of cultural rootlessness.