In 1988 José Luis Guerín took a film crew from Spain to the western coast of Ireland, in search of the filming locations of John Ford’s The Quiet Man (1952). The resultant film, Innisfree (1990), blends documentary with fiction, and the present with the past, to seemingly uncover the physical, cultural and spectral remnants of the Hollywood production in this small rural locality. Innisfree is both the product of a journey (the Spanish filmmaker’s fannish field trip) and the representation of several journeys and returns. This essay examines Guerín’s depiction of the ghostly persistence of The Quiet Man in the landscape, by using Mikhail Bakhtin’s concept of the chronotope to identify the lasting significance of real and imagined time-spaces in the cinematic landscape. Just as immigrant Irishman Sean Thornton (John Wayne) returns to his spiritual homeland from Pittsburgh, USA to reclaim his family land, Ford himself returns to the land of his parents’ birth. In Innisfree Thornton’s, Ford’s and Guerín’s imagined Irelands all mingle and intertwine in a confusing crossroads of time, fiction, memory and landscape.