2018
Taiwan International Documentary Festival
台灣競賽提名
Directed by 吳文睿
幾年前，我讀到學者／攝影評論者郭力昕寫的一篇〈論攝影與記憶〉，其中他對「攝影是保留記憶的一種有效方式」抱持相當保留且質疑的態度，並以「家庭照片」做舉例，說家庭照片：「不容易看到或完全看不到家人賭氣、爭吵、意外受傷、離婚、死亡等時刻。家庭相片提供一種關於家庭或生活的理想圖像，以及美好、陽光面的劇本，排除生活或生命中同樣真實的、陰影裡的那一面。」 還記得讀到這裡時我相當不服氣，心想：我家族裡就有一位親戚是什麼照片都拍的呢！ 幾年後，決定拍攝《告別進行式》的其中一個原因，正是為了反駁郭力昕的這個論點。
《告別進行式》的拍攝過程，其實有二部片同步進行：一部是主角──我的小叔公交給我的任務──未來告別式上放映的影片；一部就是你現在正在看的《告別進行式》。 前者任務單純，進行得非常順利；後者就曲折多了，主見超強、點子超多，又是第一次當紀錄片被攝者的小叔公嘴巴上雖說：「你要拍什麼我都不管啦！」卻又不時丟出各種各樣的點子或建議。 於是最後，我也將這段「拍與被拍」的關係以後設的手法放進敘事線裡，並以之作為影片的開頭和結尾。
整部片的黑色幽默調性在正式開拍前就決定了。決定的原因之一，是在叔公家裡看到那張他用「兒子的名義」寫給自己的告別書，當下強烈的荒謬感受為整部片訂下了敘事的基調。 第二個原因，大概是剪公視「觀點短片」的徵件片花期間，一直反覆聆聽日本前衛爵士音樂家清水靖晃80年代的作品《案山子》，其中的突梯氛圍也影響了全片的風格走向。
拍攝過程中，隨著叔公一一完成他的告別代辦事項（包括最重要的──交辦我做的影片），我一邊構思剪接手法、一邊煩惱這部片似乎總還缺了點什麼，卻苦思不得其解。 然而，紀錄片之神總會在你意想不到之時降臨。 不久之後，迎來了過年，吃完團圓飯的除夕夜，我們全家族聚在老家客廳看著賀歲節目，坐在一角的叔公突然從口袋掏出一張DVD燒錄片，得意的說大家要不要看他剛完成的「未來道別談話」啊？親戚們面面相覷，又不好推卻老人家的熱情，幾個叔叔七手八腳翻出藏在櫃子深處的DVD播放機，不知多久沒用的老機器經過一翻拆機又敲敲打打才終於播出影像，更增添了幾分荒謬的氣氛。 於是，全家族在叔公的「道別談話」中度過了一個畢生難忘的除夕夜。這個高潮事件來得太突然，殺得我手忙腳亂，所幸最後還是順利完成了拍攝任務。
《告別進行式》在公視「紀錄觀點」播出當晚，我和製片二人戰戰兢兢的到小叔公家陪他看片，過程中我不時偷瞄他的反應，見他既專注又不時流露困惑的神色。全片播畢，他沉默了好一陣，終於忍不住開口：「我一直以為你是要拍『一個獨居老人怎麼樂活』呢⋯⋯怎麼會拍成這個樣子？」 我苦笑無言以對。 幾天後，我接到小叔公的電話，電話那頭他歡快的說已經幫我寫好了「影片說明」，建議放在全片開始之前，「這樣觀眾才看得懂！」 藉此機會，原文照登如下： 「『吳筱惠先生1935-20??』短片旁白 本片的主題是敘述一位現年（2017）已經八十三歲的吳筱惠先生，如何欣然接受和安排他未來人生必走的歸程。他把過去數十年的珍貴照加以彙整成三十餘冊，並生前與親朋好友話別。他認為一個人活在世界上最好要能夠多采多姿，並對家庭、對社會有貢獻，才不會白來地球一趟。 編導吳文睿謹識」
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