2022
一開頭就很沉重啊⋯⋯從一個女性的吶喊開始，黑白照片般的推進劇情，沒想過影片也能是這種形式，恰恰契合了人們記憶似乎都只是片段的場景。 聲音是連貫的，但畫面只有一個個頓點。 語言的衝突凸顯了兩人被隔絕的感覺，女人開頭的信件是用日語朗讀，但獄中的男人用台語朗讀，還叮嚀只能使用中文⋯⋯。 打斷閱讀信件的開門聲也打斷了所有人的呼吸，短暫的開口前的間隙，讓我忍不住擔心是不是男主角。 好在不是，但一個人的生命在最後一次被呼喊後被打斷了⋯⋯這樣的情景已經在過去的關於白色恐怖的創作中看過了無數次，但還是好難過。 看到在馬桶旁寫信、寫信要小心避開噴濺的尿液；看到男人希望把資源給下一代，看到女人把金錢拿去做了用不上的西裝換一個念想⋯⋯在監獄內外的彼此只能靠著一個念想，遙想彼此，一切都掛念在那薄薄的一張紙，真是把人性刻畫得真實又難過。 整部片唯一一個有色彩的畫面是有唇印的信紙，也許只有那刻他們才得以鮮活而不是悲哀？ 一張張照片都是那個時代的記憶和悲哀。 結局不可避免地走向可以預知的結果，不，也許這不是預知，是對於暸解這段歷史後習得的必然⋯⋯希望有一天這樣的「必然」不會再次重現我們眼前。 這樣必然的結局在昭示了他在檔案上一直都是錯字記載後顯得更加荒謬，在那個時代根本不管你是誰，只管⋯⋯管什麼呢？我真的不知道。 以前的我以為那些「領導者」在乎的是自己的政權會不會被動搖所以在導致了白色恐怖和悲哀，但這部片用這樣的荒謬讓我思考，他們到底是為了什麼呢？也許是方便，也許是利益，我們不知道、猜不了、很複雜，我們只知道我們的傷痛可笑的悲哀。
13:21 糜爛的愛情，是時代的象徵，那殘破不堪的生活，是最美的情書。
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