This paper will examine the spatial transience evoked by both the text and context of Li Ruijin’s 2017 film Walking Past the Future 路过未来. Li’s film was the only full-length Chinese film selected for the Cannes International Film Festival in 2017, and in 2018, it became the first domestic film to be distributed through the Beijing Film Archive’s newly established art cinema distribution network. Walking also marked a departure from Li’s previous work. Where Li’s previous films depict abandoned rural communities, Walking focuses on a young protagonist unable to remain in Shenzhen, where she grew up, yet also unwilling to return to the Gansu town designated as her legal residence. The film’s narrative, and particularly a final, dreamlike sequence, asks viewers to inhabit these liminal spaces alongside the protagonists, who are at home in neither rural nor urban space. The characters’ liminality mirrors the film’s own position in a domestic film market not yet suited to less commercial releases. The film and its characters occupy inhospitable environments, yet persist in challenging their own marginalization.