Beginning in the 1990s, there emerged a number of queer Irish films that used postmodern tropes of movement and mobility to interrogate shifting forms of identification and belonging in contemporary Ireland. Films such as The Disappearance of Finbar (Clayton 1996), 2by4 (Smallhorne 1997), I Went Down (Breathnach 1997), Borstal Boy (Sheridan 2000), and Breakfast on Pluto (Jordan 2005) are structured by journey narratives that trace the queer male subject’s movement as he negotiates his sexuality in relation to shifting social and spatial structures. These films frame the queer male subject’s journey within a coming-out narrative, implying the liberatory potential of mobility with regards to the development and disclosure of sexual identity. At the same time, they signal a distinctly male crisis of identity linked to the mobile subject’s physical and psychic disassociation from stable referents of identity associated with placehood. This essay focuses on I Went Down to examine how the film’s adaptation of the road movie links individual mobility with sexual liberation while provoking a crisis of identity through the queer male subject’s displacement from dominant Irish society. Specifically, I propose the concept of queer mobility as a disruptive position of alterity that challenges hegemonic structures and social norms, and reveals identity as fundamentally unstable.