2017
(Pusan) Busan International Film Festival
超廣角單元
Directed by 張溪溟
片中充滿戲劇化，多樣性的剪接，真實體現主角內心的掙扎。 憂鬱可以在旁人眼中，也許是個，小問題。 但對當事者而言，何嘗不是不可承受的重。 願逝者一切安好，來生自由自在。
2017年2月24日，詩人與藝術家任航離開這個世界。 「我拍照就是因為我高興，能讓我的生活變得快樂一點。」 這是紀錄片中的任航的直率告白，言語間透露他的純真，宛如一個大男孩。他勇於追求自己的創作，大聲捍衛，不屈服於任何規範。 「聲音突然襲來，就像那種海水湧入進來，然後我就開始不行了，就不能開始哭」任航描述著。 憂鬱是一個難以用言語敘述的狀態，導演透過戲劇化的剪接、影像比例、顏色、多畫面並置等設計，真實呈現患者內心的掙扎，讓我更接近與理解任航。 觀看紀錄片前，我是透過作品認識任航，在作品中感受到他的前衛與創意。推薦你觀看此部片，除了憂鬱狀態的呈現、勇於捍衛的他，以及私下與朋友相處燦爛的笑容、愛開玩笑的另一面。 雖然這部片沒有精彩的獲獎經歷，但它飽滿地呈現了「任航」的其中一面。希望此刻在天堂的他，自由自在。--- Dora 內容行銷部
36:48 -等到有人不再討論自由是甚麼的時候,那才是真正的自由 好衝擊,好有趣,到底甚麼才是自由呢
這部紀錄片聚焦攝影師任航的生活和創作，展現他創作過程和藝術理念，也包含他面對的心理與情感困境。他離開了，也好像不曾離開。
發現在紀錄片裡，任航講的很多話都可以對應到古典社會學家Marx, Durkheim的理論架構，他說：「社會是為了人服務的」，但往現實看有很多討論空間。看到一半想到昨天跟朋友聊的，總覺得中國的人才如果可以好好發揮該有多好，嚮往自由的人肯定比間諜的人多太多了。 「而當有一天我們都不再討論什麼是自由時，那才是迎來了真正的自由。」
《我有一個憂鬱的小問題》在影像上快速切換畫面比例、組合動靜態影像、把玩不同顏色的濾鏡， 讓任航的不同狀態間有了明確的區隔：碰撞體制時就被受困在直立的窄小畫面中；精神狀態不穩定時的幻覺則是幾乎擠壓成水平線的超寬銀幕比； 圓形畫框則宛如攝影之眼，將現實生活重新調度為符合幾何美學的藝術品。 不過在敘事結構上，本片則刻意把任航生活與創作中的不同主題打散，甚至混亂時間軸，打破線性邏輯。電影還在剪接上大量運用重複的片段，雖然有效地建立反對篇章結構的非線性敘事節奏，卻也造成這部人物傳記帶給人自我重複的冗長感，反而降低了被攝對象的立體程度。
28:24 這段朋友給任航的建議可說是全片邏輯最清晰的段落，不是指其他部分不好，因為在事事講求線性因果、結果論與理性計算的現代社會，任航那種無賴式的、死纏爛打的「為什麼不行？」質問可能才是我們需要的。但他的朋友給的建議也不無道理，正如任航覺得他心中理想的自由社會是一個無須再談論自由的社會，那麼一個裸體不再與色情劃上等號的社會應該也是一個無須再討論裸體的社會，然而為了達成這個目的、讓觀眾不再自動連結裸體與色情，背後所需的手段恐怕不會是單純的裸體演出如此簡單。
是攝影師，同時也是詩人身分的任航，曾以「愛情」為題，寫下十數首現代詩作品。以下選出三首我特別喜歡的詩作，與大家分享。 《愛情》 到了半夜 大家都喝醉了 有的在哭 有的暈睡在地板上 有的抱著垃圾桶在吐 你在陽台晾洗衣機裡 早晨就洗好了的 內褲和襪子 我坐在沙發上看著你 就像我們已經在一起 生活了很久 很久 《愛情》 我閉上眼睛 全是你的臉 我睜開眼睛 還是你的臉 我看到的 所有人的臉 都變成你的臉 我眨一眨眼睛 眼淚就掉下來 眼淚上反射出 我自己的臉 也變成你的臉 《愛情》 你站在窗前 你說 我們有那麼多的事情 沒有一起做過 我從背後抱住你 指著樓下的游泳池 和掛滿樹的閃燈 我說 現在我們一起看過了 大海和星空
任航的攝影作品，非典型且極具挑釁，將人原初的欲望與美，通過「裸體」表達地淋漓盡致。然而，在中國政府頻頻地介入、審查等，花樣百出的刁難之下，幾乎差點就扼殺了一位才華洋溢的藝術家。正如任航曾在2015年一次受訪裡說過的：「我作品中的『政治性』與中國無關。是中國政治企圖干涉我的藝術創作。」
說實話，我是到了最後一刻才打開這部影片的，也才知道我還沒真的準備好去接受一個遠行的靈魂，不知道該如何同他告別。想用一篇文字折成一隻小紙鶴給他，但惶然不知該往哪裡擺放的心情，還停留在接到他死訊的那天。⋯⋯
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